rt-polarity.pos

the rock is destined to be the 21st century's new " conan " and that he's going to make a splash even greater than arnold schwarzenegger , jean-claud van damme or steven segal . 
the gorgeously elaborate continuation of " the lord of the rings " trilogy is so huge that a column of words cannot adequately describe co-writer/director peter jackson's expanded vision of j . r . r . tolkien's middle-earth . 
effective but too-tepid biopic
if you sometimes like to go to the movies to have fun , wasabi is a good place to start . 
emerges as something rare , an issue movie that's so honest and keenly observed that it doesn't feel like one . 
the film provides some great insight into the neurotic mindset of all comics -- even those who have reached the absolute top of the game . 
offers that rare combination of entertainment and education . 
perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions . 
steers turns in a snappy screenplay that curls at the edges ; it's so clever you want to hate it . but he somehow pulls it off . 
take care of my cat offers a refreshingly different slice of asian cinema . 
this is a film well worth seeing , talking and singing heads and all . 
what really surprises about wisegirls is its low-key quality and genuine tenderness . 
 ( wendigo is ) why we go to the cinema : to be fed through the eye , the heart , the mind . 
one of the greatest family-oriented , fantasy-adventure movies ever . 
ultimately , it ponders the reasons we need stories so much . 
an utterly compelling 'who wrote it' in which the reputation of the most famous author who ever lived comes into question . 
illuminating if overly talky documentary . 
a masterpiece four years in the making . 
the movie's ripe , enrapturing beauty will tempt those willing to probe its inscrutable mysteries . 
offers a breath of the fresh air of true sophistication . 
a thoughtful , provocative , insistently humanizing film . 
with a cast that includes some of the top actors working in independent film , lovely & amazing involves us because it is so incisive , so bleakly amusing about how we go about our lives . 
a disturbing and frighteningly evocative assembly of imagery and hypnotic music composed by philip glass . 
not for everyone , but for those with whom it will connect , it's a nice departure from standard moviegoing fare . 
scores a few points for doing what it does with a dedicated and good-hearted professionalism . 
occasionally melodramatic , it's also extremely effective . 
spiderman rocks
an idealistic love story that brings out the latent 15-year-old romantic in everyone . 
at about 95 minutes , treasure planet maintains a brisk pace as it races through the familiar story . however , it lacks grandeur and that epic quality often associated with stevenson's tale as well as with earlier disney efforts . 
it helps that lil bow wow . . . tones down his pint-sized gangsta act to play someone who resembles a real kid . 
guaranteed to move anyone who ever shook , rattled , or rolled . 
a masterful film from a master filmmaker , unique in its deceptive grimness , compelling in its fatalist worldview . 
light , cute and forgettable . 
if there's a way to effectively teach kids about the dangers of drugs , i think it's in projects like the ( unfortunately r-rated ) paid . 
while it would be easy to give crush the new title of two weddings and a funeral , it's a far more thoughtful film than any slice of hugh grant whimsy . 
though everything might be literate and smart , it never took off and always seemed static . 
cantet perfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent's days
ms . fulford-wierzbicki is almost spooky in her sulky , calculating lolita turn . 
though it is by no means his best work , laissez-passer is a distinguished and distinctive effort by a bona-fide master , a fascinating film replete with rewards to be had by all willing to make the effort to reap them . 
like most bond outings in recent years , some of the stunts are so outlandish that they border on being cartoonlike . a heavy reliance on cgi technology is beginning to creep into the series . 
newton draws our attention like a magnet , and acts circles around her better known co-star , mark wahlberg . 
the story loses its bite in a last-minute happy ending that's even less plausible than the rest of the picture . much of the way , though , this is a refreshingly novel ride . 
fuller would surely have called this gutsy and at times exhilarating movie a great yarn . 
'compleja e intelectualmente retadora , el ladrón de orquídeas es uno de esos filmes que vale la pena ver precisamente por su originalidad . '
the film makes a strong case for the importance of the musicians in creating the motown sound . 
karmen moves like rhythm itself , her lips chanting to the beat , her long , braided hair doing little to wipe away the jeweled beads of sweat . 
gosling provides an amazing performance that dwarfs everything else in the film . 
a real movie , about real people , that gives us a rare glimpse into a culture most of us don't know . 
tender yet lacerating and darkly funny fable . 
may be spoofing an easy target -- those old '50's giant creature features -- but . . . it acknowledges and celebrates their cheesiness as the reason why people get a kick out of watching them today . 
an engaging overview of johnson's eccentric career . 
in its ragged , cheap and unassuming way , the movie works . 
some actors have so much charisma that you'd be happy to listen to them reading the phone book . hugh grant and sandra bullock are two such likeable actors . 
sandra nettelbeck beautifully orchestrates the transformation of the chilly , neurotic , and self-absorbed martha as her heart begins to open . 
behind the snow games and lovable siberian huskies ( plus one sheep dog ) , the picture hosts a parka-wrapped dose of heart . 
everytime you think undercover brother has run out of steam , it finds a new way to surprise and amuse . 
manages to be original , even though it rips off many of its ideas . 
singer/composer bryan adams contributes a slew of songs — a few potential hits , a few more simply intrusive to the story — but the whole package certainly captures the intended , er , spirit of the piece . 
you'd think by now america would have had enough of plucky british eccentrics with hearts of gold . yet the act is still charming here . 
whether or not you're enlightened by any of derrida's lectures on " the other " and " the self , " derrida is an undeniably fascinating and playful fellow . 
a pleasant enough movie , held together by skilled ensemble actors . 
this is the best american movie about troubled teens since 1998's whatever . 
disney has always been hit-or-miss when bringing beloved kids' books to the screen . . . tuck everlasting is a little of both . 
just the labour involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing . 
the animated subplot keenly depicts the inner struggles of our adolescent heroes - insecure , uncontrolled , and intense . 
the invincible werner herzog is alive and well and living in la
morton is a great actress portraying a complex character , but morvern callar grows less compelling the farther it meanders from its shocking start . 
part of the charm of satin rouge is that it avoids the obvious with humour and lightness . 
son of the bride may be a good half-hour too long but comes replete with a flattering sense of mystery and quietness . 
a simmering psychological drama in which the bursts of sudden violence are all the more startling for the slow buildup that has preceded them . 
a taut , intelligent psychological drama . 
a compelling coming-of-age drama about the arduous journey of a sensitive young girl through a series of foster homes and a fierce struggle to pull free from her dangerous and domineering mother's hold over her . 
a truly moving experience , and a perfect example of how art -- when done right -- can help heal , clarify , and comfort . 
this delicately observed story , deeply felt and masterfully stylized , is a triumph for its maverick director . 
at heart the movie is a deftly wrought suspense yarn whose richer shadings work as coloring rather than substance . 
the appearance of treebeard and gollum's expanded role will either have you loving what you're seeing , or rolling your eyes . i loved it ! gollum's 'performance' is incredible ! 
a screenplay more ingeniously constructed than " memento " 
if this movie were a book , it would be a page-turner , you can't wait to see what happens next . 
haneke challenges us to confront the reality of sexual aberration . 
absorbing and disturbing -- perhaps more disturbing than originally intended -- but a little clarity would have gone a long way . 
it's the best film of the year so far , the benchmark against which all other best picture contenders should be measured . 
painful to watch , but viewers willing to take a chance will be rewarded with two of the year's most accomplished and riveting film performances . 
this is a startling film that gives you a fascinating , albeit depressing view of iranian rural life close to the iraqi border . 
an imaginative comedy/thriller . 
a few artsy flourishes aside , narc is as gritty as a movie gets these days . 
while the isle is both preposterous and thoroughly misogynistic , its vistas are incredibly beautiful to look at . 
together , tok and o orchestrate a buoyant , darkly funny dance of death . in the process , they demonstrate that there's still a lot of life in hong kong cinema . 
director kapur is a filmmaker with a real flair for epic landscapes and adventure , and this is a better film than his earlier english-language movie , the overpraised elizabeth . 
the movie is a blast of educational energy , as bouncy animation and catchy songs escort you through the entire 85 minutes . 
a sports movie with action that's exciting on the field and a story you care about off it . 
doug liman , the director of bourne , directs the traffic well , gets a nice wintry look from his locations , absorbs us with the movie's spycraft and uses damon's ability to be focused and sincere . 
the tenderness of the piece is still intact . 
katz uses archival footage , horrifying documents of lynchings , still photographs and charming old reel-to-reel recordings of meeropol entertaining his children to create his song history , but most powerful of all is the song itself
like the film's almost anthropologically detailed realization of early-'80s suburbia , it's significant without being overstated . 
while mcfarlane's animation lifts the film firmly above the level of other coming-of-age films . . . it's also so jarring that it's hard to get back into the boys' story . 
if nothing else , this movie introduces a promising , unusual kind of psychological horror . 
in a normal screen process , these bromides would be barely enough to sustain an interstitial program on the discovery channel . but in imax 3-d , the clichés disappear into the vertiginous perspectives opened up by the photography . 
writer-director burger imaginatively fans the embers of a dormant national grief and curiosity that has calcified into chronic cynicism and fear . 
 . . . a roller-coaster ride of a movie
i enjoyed time of favor while i was watching it , but i was surprised at how quickly it faded from my memory . 
chicago is sophisticated , brash , sardonic , completely joyful in its execution . 
steve irwin's method is ernest hemmingway at accelerated speed and volume . 
a refreshing korean film about five female high school friends who face an uphill battle when they try to take their relationships into deeper waters . 
on the surface , it's a lovers-on-the-run crime flick , but it has a lot in common with piesiewicz's and kieslowski's earlier work , films like the double life of veronique . 
the values that have held the enterprise crew together through previous adventures and perils do so again-courage , self-sacrifice and patience under pressure . 
if it's possible for a sequel to outshine the original , then sl2 does just that . 
a romantic comedy that operates by the rules of its own self-contained universe . 
4 friends , 2 couples , 2000 miles , and all the pabst blue ribbon beer they can drink - it's the ultimate redneck road-trip . 
the film is often filled with a sense of pure wonderment and excitement not often seen in today's cinema du sarcasm
it might be tempting to regard mr . andrew and his collaborators as oddballs , but mr . earnhart's quizzical , charming movie allows us to see them , finally , as artists . 
a feel-good picture in the best sense of the term . 
edited and shot with a syncopated style mimicking the work of his subjects , pray turns the idea of the documentary on its head , making it rousing , invigorating fun lacking any mtv puffery . 
a mostly intelligent , engrossing and psychologically resonant suspenser . 
it's this memory-as-identity obviation that gives secret life its intermittent unease , reaffirming that long-held illusions are indeed reality , and that erasing them recasts the self . 
hip-hop has a history , and it's a metaphor for this love story . 
in scope , ambition and accomplishment , children of the century . . . takes kurys' career to a whole new level . 
this may not have the dramatic gut-wrenching impact of other holocaust films , but it's a compelling story , mainly because of the way it's told by the people who were there . 
between the drama of cube ? s personal revelations regarding what the shop means in the big picture , iconic characters gambol fluidly through the story , with charming results . 
a gentle , compassionate drama about grief and healing . 
somewhere short of tremors on the modern b-scene : neither as funny nor as clever , though an agreeably unpretentious way to spend ninety minutes . 
digital-video documentary about stand-up comedians is a great glimpse into a very different world . 
unlike most teen flicks , swimming takes its time to tell its story , casts mostly little-known performers in key roles , and introduces some intriguing ambiguity . 
an enthralling , playful film that constantly frustrates our desire to know the 'truth' about this man , while deconstructing the very format of the biography in a manner that derrida would doubtless give his blessing to . 
 " extreme ops " exceeds expectations . good fun , good action , good acting , good dialogue , good pace , good cinematography . 
you should pay nine bucks for this : because you can hear about suffering afghan refugees on the news and still be unaffected . dramas like this make it human . 
a thunderous ride at first , quiet cadences of pure finesse are few and far between ; their shortage dilutes the potency of otherwise respectable action . still , this flick is fun , and host to some truly excellent sequences . 
it's obviously struck a responsive chord with many south koreans , and should work its magic in other parts of the world . 
run , don't walk , to see this barbed and bracing comedy on the big screen . 
a classy item by a legend who may have nothing left to prove but still has the chops and drive to show how its done . 
it is nature against progress . in fessenden's horror trilogy , this theme has proved important to him and is especially so in the finale . 
it's not exactly a gourmet meal but the fare is fair , even coming from the drive-thru . 
this is what imax was made for : strap on a pair of 3-d goggles , shut out the real world , and take a vicarious voyage to the last frontier -- space . 
merely as a technical , logistical feat , russian ark marks a cinematic milestone . 
[schweiger is] talented and terribly charismatic , qualities essential to both movie stars and social anarchists . 
it's a great deal of sizzle and very little steak . but what spectacular sizzle it is ! . . . in this incarnation its fizz is infectious . 
an original gem about an obsession with time . 
it will delight newcomers to the story and those who know it from bygone days . 
gloriously goofy ( and gory ) midnight movie stuff . 
the film overcomes the regular minefield of coming-of-age cliches with potent doses of honesty and sensitivity . 
if your senses haven't been dulled by slasher films and gorefests , if you're a connoisseur of psychological horror , this is your ticket . 
it's a minor comedy that tries to balance sweetness with coarseness , while it paints a sad picture of the singles scene . 
it is intensely personal and yet -- unlike quills -- deftly shows us the temper of the times . 
as lo-fi as the special effects are , the folks who cobbled nemesis together indulge the force of humanity over hardware in a way that george lucas has long forgotten . 
like mike doesn't win any points for originality . it does succeed by following a feel-good formula with a winning style , and by offering its target audience of urban kids some welcome role models and optimism . 
it's a hoot and a half , and a great way for the american people to see what a candidate is like when he's not giving the same 15-cent stump speech . 
far from perfect , but its heart is in the right place . . . innocent and well-meaning . 
a sad , superior human comedy played out on the back roads of life . 
waydowntown is by no means a perfect film , but its boasts a huge charm factor and smacks of originality . 
tim allen is great in his role but never hogs the scenes from his fellow cast , as there are plenty of laughs and good lines for everyone in this comedy . 
more a load of enjoyable , conan-esque claptrap than the punishing , special-effects soul assaults the mummy pictures represent . 
enormously likable , partly because it is aware of its own grasp of the absurd . 
here's a british flick gleefully unconcerned with plausibility , yet just as determined to entertain you . 
it's an old story , but a lively script , sharp acting and partially animated interludes make just a kiss seem minty fresh . 
must be seen to be believed . 
ray liotta and jason patric do some of their best work in their underwritten roles , but don't be fooled : nobody deserves any prizes here . 
everything that has to do with yvan and charlotte , and everything that has to do with yvan's rambunctious , jewish sister and her non-jew husband , feels funny and true . 
sweet home alabama " is what it is – a nice , harmless date film . . . 
the year's happiest surprise , a movie that deals with a real subject in an always surprising way . 
fans of behan's work and of irish movies in general will be rewarded by borstal boy . 
its mysteries are transparently obvious , and it's too slowly paced to be a thriller . [but it's] worth recommending because of two marvelous performances by michael caine and brendan fraser . 
the film is faithful to what one presumes are the book's twin premises -- that we become who we are on the backs of our parents , but we have no idea who they were at our age ; and that time is a fleeting and precious commodity no matter how old you are . 
stephen earnhart's homespun documentary mule skinner blues has nothing but love for its posse of trailer park denizens . 
a solidly seaworthy chiller . 
if you can get past the fantastical aspects and harsh realities of " the isle " you'll get a sock-you-in-the-eye flick that is a visual tour-de-force and a story that is unlike any you will likely see anywhere else . 
there are as many misses as hits , but ultimately , it finds humor in the foibles of human behavior , and it's a welcome return to the roots of a genre that should depend on surprises . 
a well-made thriller with a certain level of intelligence and non-reactionary morality . 
there's enough science to make it count as educational , and enough beauty to make it unforgettable . 
remains a solid , if somewhat heavy-handed , account of the near-disaster . . . done up by howard with a steady , if not very imaginative , hand . 
makmalbaf follows a resolutely realistic path in this uncompromising insight into the harsh existence of the kurdish refugees of iran's borderlands . 
for a good chunk of its running time , trapped is an effective and claustrophobic thriller . 
most of crush is a clever and captivating romantic comedy with a welcome pinch of tartness . 
nair does capture the complexity of a big family and its trials and tribulations . . . 
the seaside splendor and shallow , beautiful people are nice to look at while you wait for the story to get going . 
rare is the 'urban comedy' that even attempts the insight and honesty of this disarming indie . 
ranks among willams' best screen work . 
engagingly captures the maddening and magnetic ebb and flow of friendship . 
an experience so engrossing it is like being buried in a new environment . 
it's traditional moviemaking all the way , but it's done with a lot of careful period attention as well as some very welcome wit . 
thoroughly enjoyable . 
maybe it's just because this past year has seen the release of some of the worst film comedies in decades . . . but honestly , analyze that really isn't all that bad . 
a droll , well-acted , character-driven comedy with unexpected deposits of feeling . 
this is simply the most fun you'll ever have with a documentary ! 
a very funny movie . 
watching haneke's film is , aptly enough , a challenge and a punishment . but watching huppert , a great actress tearing into a landmark role , is riveting . 
a cop story that understands the medium amazingly well . 
one of the best , most understated performances of [jack nicholson's] career . 
britney has been delivered to the big screen safe and sound , the way we like our 20-year-old superstar girls to travel on the fame freeway . 
those outside show business will enjoy a close look at people they don't really want to know . 
the kind of nervous film that will either give you a mild headache or exhilarate you . 
watching beanie and his gang put together his slasher video from spare parts and borrowed materials is as much fun as it must have been for them to make it . 
children may not understand everything that happens -- i'm not sure even miyazaki himself does -- but they will almost certainly be fascinated , and undoubtedly delighted . 
a fascinating and fun film . 
tadpole is a sophisticated , funny and good-natured treat , slight but a pleasure . 
this insightful , oscar-nominated documentary , in which children on both sides of the ever-escalating conflict have their say away from watchful parental eyes , gives peace yet another chance . 
i admired this work a lot . 
whether you're moved and love it , or bored or frustrated by the film , you'll still feel something . 
 . . . there are enough moments of heartbreaking honesty to keep one glued to the screen . 
my goodness , queen latifah has a lot to offer and she seemed to have no problem flaunting her natural gifts . she must have a very strong back . 
a smart , sweet and playful romantic comedy . 
australian actor/director john polson and award-winning english cinematographer giles nuttgens make a terrific effort at disguising the obvious with energy and innovation . 
without heavy-handedness , dong provides perspective with his intelligent grasp of human foibles and contradictions . 
solid , lump-in-the-throat family entertainment that derives its power by sticking to the facts . 
as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting . 
it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen . 
it won't bust your gut -- and it's not intended to -- it's merely a blandly cinematic surgical examination of what makes a joke a joke . 
a somewhat crudely constructed but gripping , questing look at a person so racked with self-loathing , he becomes an enemy to his own race . 
it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya . 
narc may not get an 'a' for originality , but it wears its b-movie heritage like a badge of honor . 
with the film's striking ending , one realizes that we have a long way to go before we fully understand all the sexual permutations involved . 
[drumline] is entertaining for what it does , and admirable for what it doesn't do . 
at its best early on as it plays the culture clashes between the brothers . 
[a] rare , beautiful film . 
an unabashedly schmaltzy and thoroughly enjoyable true story . 
a thoughtful look at a painful incident that made headlines in 1995 . 
you walk out of the good girl with mixed emotions disapproval of justine combined with a tinge of understanding for her actions . 
tsai ming-liang has taken his trademark style and refined it to a crystalline point . 
purely propaganda , a work of unabashed hero worship , it is nonetheless -- and likely inadvertently -- a timely and invaluable implicit reminder of the role that u . s . foreign policy has played in the rise of castro . 
now trimmed by about 20 minutes , this lavish three-year-old production has enough grandeur and scale to satisfy as grown-up escapism . 
we get some truly unique character studies and a cross-section of americana that hollywood couldn't possibly fictionalize and be believed . 
though this film can be clumsy , its ambitions are equally -- and admirably -- uncommercial . 
daring , mesmerizing and exceedingly hard to forget . 
the dangerous lives of altar boys' take on adolescence feels painfully true . 
moore's performance impresses almost as much as her work with haynes in 1995's safe . 
visits spy-movie territory like a novel you can't put down , examines a footnote to history seldom brought to light on the screen , and keeps you guessing from first frame to last . 
an absorbing , slice-of-depression life that touches nerves and rings true . 
mr . parker has brilliantly updated his source and grasped its essence , composing a sorrowful and hilarious tone poem about alienated labor , or an absurdist workplace sitcom . 
the result is something quite fresh and delightful . 
all but the most persnickety preteens should enjoy this nonthreatening but thrilling adventure . 
despite its many infuriating flaws -- not the least of which is amy's self-absorbed personality -- amy's o's honesty will win you over . 
this is one of polanski's best films . 
day is not a great bond movie , but it is a good bond movie , which still makes it much better than your typical bond knock-offs . 
polished korean political-action film is just as good -- and bad -- as hollywood action epics . is this progress ? 
elling , portrayed with quiet fastidiousness by per christian ellefsen , is a truly singular character , one whose frailties are only slightly magnified versions of the ones that vex nearly everyone . 
denis and co-writer michele petin's impeccable screenplay penetrates with a rawness that that is both unflinching and tantalizing . lead provocatuers testud and parmentier give superlative performances
an absorbing trip into the minds and motivations of people under stress as well as a keen , unsentimental look at variations on the theme of motherhood . 
i admired it , particularly that unexpected downer of an ending . 
the passions aroused by the discord between old and new cultures are set against the strange , stark beauty of the mideast desert , so lovingly and perceptively filmed that you can almost taste the desiccated air . 
remarkably accessible and affecting . 
never mind whether you buy the stuff about barris being a cia hit man . the kooky yet shadowy vision clooney sustains throughout is daring , inventive and impressive . 
a triumph of art direction over narrative , but what art direction ! 
behan himself knew how to spin a tale and one can't help but think he'd appreciate this attempt to turn his life into art . 
jirí hubac's script is a gem . his characters are engaging , intimate and the dialogue is realistic and greatly moving . the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . . 
moore's complex and important film is also , believe it or not , immensely entertaining , a david and goliath story that's still very much playing itself out . 
the additional storyline is interesting and entertaining , but it doesn't have the same magical quality as the beginning of the story . i like the new footage and still love the old stuff . 
though mama takes a bit too long to find its rhythm and a third-act plot development is somewhat melodramatic , its ribald humor and touching nostalgia are sure to please anyone in search of a jules and jim for the new millennium . 
you might not buy the ideas . but you'll definitely want the t-shirt . 
provides an intriguing window into the imagination and hermetic analysis of todd solondz . 
windtalkers is shapelessly gratifying , the kind of movie that invites you to pick apart its faults even as you have to admit that somehow it hit you where you live . 
presents an astute appraisal of middle american musical torpor and the desperate struggle to escape it . 
just what makes us happy , anyway ? 
a thoughtful , moving piece that faces difficult issues with honesty and beauty . 
one of the greatest romantic comedies of the past decade . 
you wouldn't call the good girl a date movie ( an anti-date movie is more like it ) , but when it's good , it's good and horrid . 
benefits from a strong performance from zhao , but it's dong jie's face you remember at the end . 
this is a film brimming with detail and nuance and one that speaks volumes about the ability of the human spirit to find solace in events that could easily crush it forever . 
the director , steven shainberg , has succeeded by focusing intently on his characters , making them quirky individuals rather than figures of fun . 
it ultimately stands forth as an important chronicle of the abuses of one of latin america's most oppressive regimes . 
the movie has a soft , percolating magic , a deadpan suspense . 
a well-made and often lovely depiction of the mysteries of friendship . 
using his audience as a figurative port-of-call , dong pulls his even-handed ideological ship to their dock for unloading , before he continues his longer journey still ahead . 
 . . . understands that a generation defines its music as much as the music defines a generation . 
the transporter is as lively and as fun as it is unapologetically dumb
as a witness to several greek-american weddings -- but , happily , a victim of none -- i can testify to the comparative accuracy of ms . vardalos' memories and insights . 
has it ever been possible to say that williams has truly inhabited a character ? it is now . 
by presenting an impossible romance in an impossible world , pumpkin dares us to say why either is impossible -- which forces us to confront what's possible and what we might do to make it so . 
an impressive debut for first-time writer-director mark romanek , especially considering his background is in music video . 
an incendiary , deeply thought-provoking look at one of the most peculiar ( and peculiarly venomous ) bigotries in our increasingly frightening theocracy
all the performances are top notch and , once you get through the accents , all or nothing becomes an emotional , though still positive , wrench of a sit . 
 " its successes are also tempered with elements which prove the direct antithesis of what it gets right . " 
it's solid and affecting and exactly as thought-provoking as it should be . 
this is such a dazzlingly self-assured directorial debut that it's hard to know what to praise first . 
parker holds true to wilde's own vision of a pure comedy with absolutely no meaning , and no desire to be anything but a polished , sophisticated entertainment that is in love with its own cleverness . 
münch's genuine insight makes the film's occasional overindulgence forgivable . 
thankfully , the film , which skirts that rapidly deteriorating line between fantasy and reality . . . takes a tongue-in-cheek attitude even as it pushes the croc hunter agenda . 
ultimately , the message of trouble every day seems to be that all sexual desire disrupts life's stasis . 
if you're like me , a sucker for a good old fashion romance and someone who shamelessly loves to eat , then mostly martha offers all the perfect ingredients to more than satisfy your appetite . 
the film has just enough of everything -- re-enactments , archival footage , talking-head interviews -- and the music is simply sublime . 
there are a few stabs at absurdist comedy . . . but mostly the humor is of the sweet , gentle and occasionally cloying kind that has become an iranian specialty . 
a wonderful character-based comedy . 
it would be interesting to hear from the other side , but in talk to her , the women are down for the count . 
an endearingly offbeat romantic comedy with a great meet-cute gimmick . 
the unique tug-of-war with viewer expectations is undeniable , if not a pleasure in its own right . 
it uses an old-time formula , it's not terribly original and it's rather messy -- but you just have to love the big , dumb , happy movie my big fat greek wedding . 
it's almost impossible not to be moved by the movie's depiction of sacrifice and its stirring epilogue in post-soviet russia . 
who knows what exactly godard is on about in this film , but his words and images don't have to add up to mesmerize you . 
the tone is balanced , reflective and reasonable . 
the principals in this cast are all fine , but bishop and stevenson are standouts . 
it could change america , not only because it is full of necessary discussion points , but because it is so accessible that it makes complex politics understandable to viewers looking for nothing but energetic entertainment . 
what's most striking about this largely celebratory film . . . is the sense of isolation that permeates these bastions of individuality in an ikea world . 
 . . . if you're in a mind set for goofy comedy , the troopers will entertain with their gross outs , bawdy comedy and head games . 
somewhat blurred , but kinnear's performance is razor sharp . 
as a director , mr . ratliff wisely rejects the temptation to make fun of his subjects . 
for anyone who remembers the '60s or is interested in one man's response to stroke , ram dass : fierce grace is worth seeking out . 
intriguing and beautiful film , but those of you who read the book are likely to be disappointed . 
the new guy does have a heart . now , if it only had a brain . 
a savvy exploration of paranoia and insecurity in america's culture of fear . 
legendary irish writer brendan behan's memoir , borstal boy , has been given a loving screen transferral . 
the film's greatest asset is how much it's not just another connect-the-dots , spy-on-the-run picture . 
this clever caper movie has twists worthy of david mamet and is enormous fun for thinking audiences . 
it's one of the saddest films i have ever seen that still manages to be uplifting but not overly sentimental . 
morton is , as usual , brilliant . 
even with all those rough edges safely sanded down , the american insomnia is still pretty darned good . 
i don't know precisely what to make of steven soderbergh's full frontal , though that didn't stop me from enjoying much of it . 
the tug of war that ensues is as much a snapshot of modern china in microcosm as it is a crash course in movie mythology . 
nearly surreal , dabbling in french , this is no simple movie , and you'll be taking a risk if you choose to see it . i enjoyed the ride ( bumps and all ) , creamy depth , and ultimate theme . 
you could say that it's slow at times , you could say that a few of the characters act in ways that real people wouldn't , but one thing you couldn't say is that alias betty is predictable . 
asia authors herself as anna battista , an italian superstar and aspiring directress who just happens to be her own worst enemy . 
roman coppola may never become the filmmaker his dad was , but heck – few filmmakers will . but based on cq , i'll certainly be keeping an eye out for his next project . 
an amusing , breezily apolitical documentary about life on the campaign trail . 
high on melodrama . but it's emotionally engrossing , too , thanks to strong , credible performances from the whole cast . 
finally , a genre movie that delivers -- in a couple of genres , no less . 
it's not so much enjoyable to watch as it is enlightening to listen to new sides of a previous reality , and to visit with some of the people who were able to make an impact in the theater world . 
spielberg is the rare director who does not want to invite viewers to gawk at or applaud his special effects . he just wants them to be part of the action , the wallpaper of his chosen reality . here , thankfully , they are . 
post 9/11 the philosophical message of " personal freedom first " might not be as palatable as intended . 
hu and liu offer natural , matter-of-fact performances that glint with sorrow , longing and love . 
this bold and lyrical first feature from raja amari expands the pat notion that middle-aged women just wanna have fun into a rousing treatise of sensual empowerment . 
easier to respect than enthuse over , andersson's rigorous personal vision is not only distanced but distancing . 
girls gone wild and gone civil again
 . . . tunney is allowed to build an uncommonly human character , an almost real-live girl complete with trouble and hope . 
while this film is not in the least surprising , it is still ultimately very satisfying . think of it as a sort of comfort food for the mind . 
clever , brutal and strangely soulful movie . 
 . . . always remains movingly genuine . 
an intelligent fiction about learning through cultural clash . 
will grab your children by the imagination and amaze them and amuse them . 
a remarkable 179-minute meditation on the nature of revolution . 
those who would follow haneke on his creepy explorations . . . are rewarded by brutal , committed performances from huppert and magimel . 
an involving true story of a chinese actor who takes up drugs and winds up in an institution--acted mostly by the actual people involved . 
hands down the year's most thought-provoking film . but it pays a price for its intricate intellectual gamesmanship . 
it's a terrific american sports movie and dennis quaid is its athletic heart . 
this is such a high-energy movie where the drumming and the marching are so excellent , who cares if the story's a little weak . 
compelling revenge thriller , though somewhat weakened by a miscast leading lady . 
it's amazingly perceptive in its subtle , supportive but unsentimental look at the marks family . 
a whole lot foul , freaky and funny . 
family fare . 
attal mixes comedy with a serious exploration of ego and jealousy within a seemingly serene marriage . 
the diversity of the artists represented , both in terms of style and ethnicity , prevents the proceedings from feeling repetitious , as does the appropriately brief 40-minute running time . 
the pianist is a fine valedictory work for polanski , made richer by his own experiences , making his other movies somehow richer in the bargain . 
foster nails the role , giving a tight , focused performance illuminated by shards of feeling . 
even if you can't pronounce " gyro " correctly , you'll appreciate much of vardalos' humor , which transcends ethnic boundaries . 
is office work really as alienating as 'bartleby' so effectively makes it ? 
farrell . . . thankfully manages to outshine the role and successfully plays the foil to willis's world-weary colonel . 
audiences conditioned to getting weepy over saucer-eyed , downy-cheeked moppets and their empathetic caretakers will probably feel emotionally cheated by the film's tart , sugar-free wit . 
bennett's dramatization of her personal descent into post-breakup perdition has a morbid appeal that's tough to shake . 
an intriguing and entertaining introduction to johnson . 
as expected , sayles' smart wordplay and clever plot contrivances are as sharp as ever , though they may be overshadowed by some strong performances . 
a model of what films like this should be like . 
as weber and weissman demonstrate with such insight and celebratory verve , the cockettes weren't as much about gender , sexual preference or political agitprop as they were simply a triumph of the indomitable human will to rebel , connect and create . 
yeah , these flicks are just that damn good . isn't it great ? 
an unbelievably fun film just a leading man away from perfection . 
over-the-top and a bit ostentatious , this is a movie that's got oodles of style and substance . 
 . . . a poignant and powerful narrative that reveals that reading writing and arithmetic are not the only subjects to learn in life . 
nicely serves as an examination of a society in transition . 
boisterous , heartfelt comedy . 
a tender and touching drama , based on the true story of a troubled african-american's quest to come to terms with his origins , reveals the yearning we all have in our hearts for acceptance within the family circle . 
as a randy film about sexy people in gorgeous places being pushed and pulled ( literally and figuratively ) by desire . . . [sex and lucía] makes for an arousing good time . 
absorbing character study by andré turpin . 
celebrated at sundance , this slight comedy of manners has winning performances and a glossy , glib charm that's hard to beat . 
renner's performance as dahmer is unforgettable , deeply absorbing . 
if no one singles out any of these performances as award-worthy , it's only because we would expect nothing less from this bunch . 
if you love reading and/or poetry , then by all means check it out . you'll probably love it . 
though of particular interest to students and enthusiast of international dance and world music , the film is designed to make viewers of all ages , cultural backgrounds and rhythmic ability want to get up and dance . 
energetic and boldly provocative . 
star wars is back in a major way . 
it's a movie -- and an album -- you won't want to miss . 
it's rare to find a film that dazzles the eye , challenges the brain , and satisfies our lust for fast-paced action , but minority report delivers all that and a whole lot more . 
while not all transitions to adulthood are so fraught , there's much truth and no small amount of poetry in girls can't swim . 
if there's nothing fresh about wannabes , which was written by mr . demeo , who produced and directed the film with charles a . addessi , much of the time the movie feels authentic . 
jacquot's tosca is a treat . 
by the end of no such thing the audience , like beatrice , has a watchful affection for the monster . 
if you liked such movies as notting hill , four weddings and a funeral , bridget jones' diary or high fidelity , then you won't want to miss about a boy . 
 . . . the gentle melding of drama and comedy makes " what time is it there ? " something the true film buff will enjoy . 
romanek keeps the film constantly taut . . . reflecting the character's instability with a metaphorical visual style and an unnerving , heartbeat-like score . 
i whole-heartedly recommend that everyone see this movie-- for its historical significance alone . 
hey , who else needs a shower ? 
longley has constructed a remarkably coherent , horrifically vivid snapshot of those turbulent days . 
although it bangs a very cliched drum at times , this crowd-pleaser's fresh dialogue , energetic music , and good-natured spunk are often infectious . 
often gruelling and heartbreaking to witness , but seldahl and wollter's sterling performances raise this far above the level of the usual maudlin disease movie . 
go see it and enjoy . 
the stunning , dreamlike visuals will impress even those viewers who have little patience for euro-film pretension . 
george clooney proves he's quite a talented director and sam rockwell shows us he's a world-class actor with confessions of a dangerous mind . 
there's a vastness implied in metropolis that is just breathtaking . 
murderous maids may well be the most comprehensive of these films and also strike closest to the truth . 
the people in dogtown and z-boys are so funny , aggressive and alive , you have to watch them because you can't wait to see what they do next . 
as green-guts monster movies go , it's a beaut . 
as bundy , michael reilly burke ( octopus 2 : river of fear ) has just the right amount of charisma and menace . 
a deceivingly simple film , one that grows in power in retrospect . 
ana is a vivid , vibrant individual and the movie's focus upon her makes it successful and accessible . 
a slick , skillful little horror film . 
a very witty take on change , risk and romance , and the film uses humour to make its points about acceptance and growth . 
[anderson] uses a hit-or-miss aesthetic that hits often enough to keep the film entertaining even if none of it makes a lick of sense . 
bubba ho-tep is a wonderful film with a bravura lead performance by bruce campbell that doesn't deserve to leave the building until everyone is aware of it . 
despite the long running time , the pace never feels slack -- there's no scene that screams " bathroom break ! " 
bullock does a good job here of working against her natural likability . 
a film of precious increments artfully camouflaged as everyday activities . 
kinnear gives a tremendous performance . 
the best movie of its kind since 'brazil . ' lucas , take notes . this is how you use special effects . 
 " frailty " has been written so well , that even a simple " goddammit ! " near the end takes on a whole other meaning . 
one hour photo is an intriguing snapshot of one man and his delusions ; it's just too bad it doesn't have more flashes of insight . 
kaufman creates an eerie sense of not only being there at the time of these events but the very night matthew was killed . 
chalk it up to my adoration for both de niro and murphy , but i had a pretty good time with this movie - despite its myriad flaws . 
its scenes and sensibility are all more than familiar , but it exudes a kind of nostalgic spy-movie charm and , at the same time , is so fresh and free of the usual thriller nonsense that it all seems to be happening for the first time . 
it represents better-than-average movie-making that doesn't demand a dumb , distracted audience . 
a charming yet poignant tale of the irrevocable ties that bind . 
an enchanting spectacular for potter fans anxious to ride the hogwarts express toward a new year of magic and mischief . 
the talents of the actors helps " moonlight mile " rise above its heart-on-its-sleeve writing . 
it's a humble effort , but spiced with wry humor and genuine pathos , especially between morgan and redgrave . 
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 . 
dark and disturbing , but also surprisingly funny . 
the movie has an avalanche of eye-popping visual effects . 
starts off with a bang , but then fizzles like a wet stick of dynamite at the very end . it's still worth a look . 
most impressive , though , is the film's open-ended finale that refuses to entirely close its characters' emotional wounds . 
a hip ride into hyper-time , clockstoppers is a lively and enjoyable adventure for all ages at any time . 
grenier is terrific , bringing an unforced , rapid-fire delivery to toback's heidegger- and nietzsche-referencing dialogue . 
 . . . a polished and relatively sincere piece of escapism . 
the story wraps back around on itself in the kind of elegant symmetry that's rare in film today , but be warned : it's a slow slog to get there . 
the whole cast looks to be having so much fun with the slapstick antics and silly street patois , tossing around obscure expressions like bellini and mullinski , that the compact 86 minutes breezes by . 
 . . . has freaky scenes where the crew wonder if they're ghosts imagining themselves as alive . it's a sly wink to the others without becoming a postmodern joke , made creepy by its " men in a sardine can " warped logic . 
long after you leave justine , you'll be wondering what will happen to her and wishing her the best -- whatever that might mean . 
still pretentious and filled with subtext , but entertaining enough at 'face value' to recommend to anyone looking for something different . 
call me a wimp , but i cried , not once , but three times in this animated sweet film . 
notorious c . h . o . has oodles of vulgar highlights . 
an inspiring and heart-affecting film about the desperate attempts of vietnamese refugees living in u . s . relocation camps to keep their hopes alive in 1975 . 
the level of maturity displayed by this 33-year-old first-time feature director is astonishing , considering her inexperience and her subject matter . 
a splendid entertainment , young in spirit but accomplished in all aspects with the fullness of spirit and sense of ease that comes only with experience . 
disney's live-action division has a history of releasing cinematic flotsam , but this is one occasion when they have unearthed a rare gem . 
if the message seems more facile than the earlier films , the images have such a terrible beauty you may not care . 
whether kiss is a future cult classic or destined to be completely forgotten is open to question , but the risk-takers in the crowd should check it out and form their own opinion . 
there are moments in this account of the life of artist frida kahlo that are among cinema's finest this year . unfortunately , they're sandwiched in between the most impossibly dry account of kahlo's life imaginable . 
there are moments it can be heart-rending in an honest and unaffected ( and gentle ) way . 
stay clear of reminding yourself that it's a " true story " and you're likely to have one helluva time at the movies . 
there are just enough twists in the tale to make it far more satisfying than almost any horror film in recent memory . 
the sundance film festival has become so buzz-obsessed that fans and producers descend upon utah each january to ferret out the next great thing . 'tadpole' was one of the films so declared this year , but it's really more of the next pretty good thing . 
working from elliott's memoir , rohmer fashions the sort of delicate , articulate character- and- relationship study he's favored for decades . 
the story feels more like a serious read , filled with heavy doses of always enticing sayles dialogue . 
when it really counts . . . bloody sunday connects on a visceral level that transcends language . 
the crime matters less than the characters , although the filmmakers supply enough complications , close calls and double-crosses to satisfy us . 
[an] hilarious romantic comedy . 
the actors are fantastic . they are what makes it worth the trip to the theatre . 
ranging from funny to shattering and featuring some of the year's best acting , personal velocity gathers plenty of dramatic momentum . 
i complain all the time about seeing the same ideas repeated in films over and over again , but the bourne identity proves that a fresh take is always possible . 
recalls quiet freak-outs like l'avventura and repulsion . 
only an epic documentary could get it all down , and spike lee's jim brown : all american at long last gives its subject a movie worthy of his talents . 
 . . . as the story congeals you feel the pieces of the star wars saga falling into place in a way that makes your spine tingle with revelation and excitement . 
a great comedy filmmaker knows great comedy needn't always make us laugh . tim story's not there yet - but 'barbershop' shows he's on his way . 
the movie is one of the best examples of artful large format filmmaking you are likely to see anytime soon . 
lends itself to the narcotizing bland ( sinister , though not nearly so sinister as the biennial disney girl movie ) machinations of the biennial disney boy movie . 
well-written , nicely acted and beautifully shot and scored , the film works on several levels , openly questioning social mores while ensnaring the audience with its emotional pull . 
jason x has cheesy effects and a hoary plot , but its macabre , self-deprecating sense of humor makes up for a lot . 
[taymor] utilizes the idea of making kahlo's art a living , breathing part of the movie , often catapulting the artist into her own work . this isn't a new idea . it's been done before but never so vividly or with so much passion . 
an impressive if flawed effort that indicates real talent . 
two generations within one family test boundaries in this intelligent and restrained coming-of-age drama . 
it sounds sick and twisted , but the miracle of shainberg's film is that it truly is romance
disturbing and brilliant documentary . 
 . . . mesmerizing , an eye-opening tour of modern beijing culture in a journey of rebellion , retreat into oblivion and return . 
one of the best examples of how to treat a subject , you're not fully aware is being examined , much like a photo of yourself you didn't know was being taken . 
not too far below the gloss you can still feel director denis villeneuve's beating heart and the fondness he has for his characters . 
as if to prove a female director can make a movie with no soft edges , kathryn bigelow offers no sugar-coating or interludes of lightness . her film is unrelentingly claustrophobic and unpleasant . 
[villeneuve] seems to realize intuitively that even morality is reduced to an option by the ultimate mysteries of life and death . 
the result is mesmerizing -- filled with menace and squalor . 
fisher has bared his soul and confronted his own shortcomings here in a way . . . that feels very human and very true to life . 
it's fun , but the code-talk will fly right over everyone's head
bourne , jason bourne . he can scale a building like a super hero , he can out-stealth any agent , he'll get the girl . he's super spy ! 
what makes the movie a comedy is the way it avoids the more serious emotions involved . 
an exhilarating experience . 
this cuddly sequel to the 1999 hit is a little more visually polished , a little funnier , and a little more madcap . 
the pleasures of super troopers may be fleeting , but they'll register strongly with anybody who still retains a soft spot for precollegiate humor . 
the film is exhilarating to watch because sandler , liberated from the constraints of formula , reveals unexpected depths as an actor . 
a distant , even sterile , yet compulsively watchable look at the sordid life of hogan's heroes star bob crane . 
the film delivers not just the full assault of reno's immense wit and insight , but a time travel back to what it felt like during those unforgettably uncertain days . 
what might have been a predictably heartwarming tale is suffused with complexity . 
sound the trumpets : for the first time since desperately seeking susan , madonna doesn't suck as an actress . 
although very much like the first movie based on j . k . rowling's phenomenal fantasy best sellers , this second go-round possesses a quite pleasing , headlong thrust and a likably delinquent attitude . 
[ " take care of my cat " ] is an honestly nice little film that takes us on an examination of young adult life in urban south korea through the hearts and minds of the five principals . 
as the story moves inexorably through its seven day timeframe , the picture becomes increasingly mesmerizing . 
maguire is a surprisingly effective peter/spider-man . 
not a cozy or ingratiating work , but it's challenging , sometimes clever , and always interesting , and those are reasons enough to see it . 
the film runs on equal parts of innocence and wisdom -- wisdom that comes with experience . it has fun being grown up . 
like old myths and wonder tales spun afresh . 
rarely do films come along that are as intelligent , exuberant , and moving as monsoon wedding . 
one scarcely needs the subtitles to enjoy this colorful action farce . 
quite funny for the type of movie it is . . . 
it's often infuriatingly glib and posturing , and yet it has been made with great evident care and manages to deliver up the man in a way to arouse further curiosity in even the most unknowing viewer . 
one of [herzog's] least inspired works . 
this boisterous comedy serves up a cruel reminder of the fate of hundreds of thousands of chinese , one which can only qualify as a terrible tragedy . 
elling really is about a couple of crazy guys , and it's therapeutic to laugh along with them . 
never [sinks] into exploitation . 
an irresistible combination of a rousing good story set on a truly grand scale . 
there's no denying the physically spectacular qualities of the film . . . or the emotional integrity of the performances . 
few films this year have been as resolute in their emotional nakedness . 
exquisitely acted and masterfully if preciously interwoven… [the film] addresses in a fascinating , intelligent manner the intermingling of race , politics and local commerce . 
stevenson's performance is at once clueless and fiercely committed , a volatile combination . 
this is a very fine movie -- go see it . 
as shaky as the plot is , kaufman's script is still memorable for some great one-liners . 
despite its flaws , secretary stays in your head and makes you question your own firmly held positions . 
one of those rare , exhilarating cinematic delights that gets even better in hindsight , as you mull over its every nuance in your mind . 
not everything works , but the average is higher than in mary and most other recent comedies . 
a byzantine melodrama that stimulates the higher brain functions as well as the libido . 
a sensitive and expertly acted crowd-pleaser that isn't above a little broad comedy and a few unabashedly sentimental tears . 
the film's sharp , often mischievous sense of humor will catch some off guard . . . 
does what a fine documentary does best : it extends a warm invitation into an unfamiliar world , then illuminates it fully and allows the larger implications of the journey to sink in unobtrusively . 
almost every scene in this film is a gem that could stand alone , a perfectly realized observation of mood , behavior and intent . 
a psychologically rich and suspenseful moral thriller with a stellar performance by al pacino . 
you won't believe much of it , but you will laugh at the audacity , at the who's who casting and the sheer insanity of it all . 
this version's no classic like its predecessor , but its pleasures are still plentiful . 
the bourne identity is what summer screen escapism used to be in the decades when it was geared more to grownups . 
provide[s] nail-biting suspense and credible characters without relying on technology-of-the-moment technique or pretentious dialogue . 
if it tried to do anything more , it would fail and perhaps explode , but at this level of manic whimsy , it is just about right . 
too sincere to exploit its subjects and too honest to manipulate its audience . 
the saturation bombing of reggio's images and glass' evocative music . . . ultimately leaves viewers with the task of divining meaning . 
for all its serious sense of purpose . . . [it] finds a way to lay bare the tragedies of its setting with a good deal of warmth and humor . 
a depressing confirmation of everything those of us who don't object to the description " unelected " have suspected all along : george w . bush is an incurious , uncharismatic , overgrown frat boy with a mean streak a mile wide . 
this road movie gives you emotional whiplash , and you'll be glad you went along for the ride . 
sure , it's more of the same , but as the film proves , that's not always a bad thing . 
a lighthearted , feel-good film that embraces the time-honored truth that the most powerful thing in life is love . 
a bowel-curdling , heart-stopping recipe for terror . 
daughter from danang is a film that should be seen by all , especially those who aren't aware of , or have forgotten about the unmentioned victims of war . 
zhang yimou delivers warm , genuine characters who lie not through dishonesty , but because they genuinely believe it's the only way to bring happiness to their loved ones . 
 . . . breathes surprising new life into the familiar by amalgamating genres and adding true human complexity to its not-so-stock characters . 
' . . . both hokey and super-cool , and definitely not in a hurry , so sit back , relax and have a few laughs while the little ones get a fuzzy treat . '
a pleasant romantic comedy . 
it's a count for our times . 
greengrass has delivered an undoubted stylistic tour-de-force , and has managed elements such as sound and cinematography with skill
smith's point is simple and obvious -- people's homes are extensions of themselves , and particularly eccentric people have particularly eccentric living spaces -- but his subjects are charmers . 
a romantic comedy , yes , but one with characters who think and talk about their goals , and are working on hard decisions . 
vividly conveys both the pitfalls and the pleasures of over-the-top love . 
 . . . a weak , manipulative , pencil-thin story that is miraculously able to entertain anyway . 
a pro-fat farce that overcomes much of its excessive moral baggage thanks to two appealing lead performances . 
for the first two-thirds of this sparklingly inventive and artful , always fast and furious tale , kids will go happily along for the ride . 
majidi's poetic love story is a ravishing consciousness-raiser , if a bit draggy at times . 
the smartest bonehead comedy of the summer . 
effectively feeds our senses with the chilling sights and sounds from within the camp to create a completely numbing experience . 
i love the way that it took chances and really asks you to take these great leaps of faith and pays off . 
in his debut as a film director , denzel washington delivers a lean and engaging work . 
only two words will tell you what you know when deciding to see it : anthony . hopkins . 
the movie's quiet affirmation of neighborhood values gives it an honest , lived-in glow . 
a teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting , less symmetrical , less obviously cross-shaped creation . 
hayek is stunning as frida and . . . a star-making project . 
it's both a necessary political work and a fascinating documentary . . . 
hilarious , acidic brit comedy . 
as a revenge thriller , the movie is serviceable , but it doesn't really deliver the delicious guilty pleasure of the better film versions . 
an ironic speculation on democracy in a culture unaccustomed to it . 
it's not life-affirming — its vulgar and mean , but i liked it . 
several degrees shy of the gross-out contests one expects from current teen fare . 
the inherent strength of the material as well as the integrity of the filmmakers gives this coming-of-age story restraint as well as warmth . 
led by griffin's smartly nuanced performance and enthusiasm , the cast has a lot of fun with the material . 
tuck everlasting achieves a delicate balance of romantic innocence and philosophical depth . 
a gentle blend of present day testimonials , surviving footage of burstein and his family performing , historical archives , and telling stills . 
a generation x artifact , capturing a brief era of insanity in the sports arena that surely cannot last . 
possession is elizabeth barrett browning meets nancy drew , and it's directed by . . . neil labute . hmm . 
an uneven but intriguing drama that is part homage and part remake of the italian masterpiece . 
windtalkers celebrates the human spirit and packs an emotional wallop . 
having never been a huge fan of dickens' 800-page novel , it surprised me how much pleasure i had watching mcgrath's version . 
the best thing the film does is to show us not only what that mind looks like , but how the creative process itself operates . 
for all its failed connections , divine secrets of the ya-ya sisterhood is nurturing , in a gauzy , dithering way . 
this is pretty dicey material . but some unexpected zigs and zags help . 
compellingly watchable . 
the filmmakers skillfully evoke the sense of menace that nature holds for many urban dwellers . 
the laser-projected paintings provide a spell-casting beauty , while russell and dreyfus are a romantic pairing of hearts , preciously exposed as history corners them . 
you don't have to be an especially tough grader to give a charitable b-minus to the emperor's club . 
this romantic thriller is steeped in the atmosphere of wartime england , and ably captures the speech patterns , moral codes and ideals of the 1940s . 
divine secrets of the ya-ya sisterhood may not be exactly divine , but it's definitely -- defiantly -- ya ya , what with all of those terrific songs and spirited performances . 
viewed on its own terms , treasure planet is better-than-average family entertainment , but true fans of the stevenson's novel will likely prefer disney's more faithful 1950 live-action swashbuckling classic . 
a journey through memory , a celebration of living , and a sobering rumination on fatality , classism , and ignorance . 
resourceful and ingenious entertainment . 
 " antwone fisher " is an earnest , by-the-numbers effort by washington . it won't rock any boats but is solid meat-and-potatoes filmmaking . 
a historical epic with the courage of its convictions about both scope and detail . 
we need [moore's] noisy , cocky energy , his passion and class consciousness ; we need his shticks , we need his stones . 
although the editing might have been tighter , hush ! sympathetically captures the often futile lifestyle of young people in modern japan . 
[gai] comes closer to any actress i can remember to personifying independence in its purest and , yes , most intimidating form . 
these are lives worth watching , paths worth following . 
it's rather like a lifetime special -- pleasant , sweet and forgettable . 
a moody horror/thriller elevated by deft staging and the director's well-known narrative gamesmanship . 
as a singular character study , it's perfect . it's also the year's sweetest movie . 
a graceful , contemplative film that gradually and artfully draws us into a world where the personal and the political get fatally intertwined . 
while not as aggressively impressive as its american counterpart , " in the bedroom , " moretti's film makes its own , quieter observations
the experience of watching blobby old-school cgi animation in this superlarge format is just surreal enough to be diverting . 
time changer may not be the most memorable cinema session but its profound self-evaluation message about our fragile existence and the absence of spiritual guidance should at least invade an abundance of mindsets
 " the emperor's new clothes " begins with a simple plan . . . . well , at least that's the plan . 
haynes has so fanatically fetishized every bizarre old-movie idiosyncrasy with such monastic devotion you're not sure if you should applaud or look into having him committed . 
[director peter] jackson and his crew have so steeped themselves in the majesty of tolkien's writing that every frame produces new joys , whether you're a fan of the books or not . 
while the glass slipper doesn't quite fit , pumpkin is definitely a unique modern fairytale . 
the drama is played out with such aching beauty and truth that it brings tears to your eyes . 
an exciting and involving rock music doc , a smart and satisfying look inside that tumultuous world . 
an offbeat , sometimes gross and surprisingly appealing animated film about the true meaning of the holidays . 
this version incarnates the prophetic book in a way even its exacting author might admire . 
sometimes , nothing satisfies like old-fashioned swashbuckling . and in this regard , on guard delivers . 
 . . . ambition is in short supply in the cinema , and egoyan tackles his themes and explores his characters' crises with seriousness and compassion . 
an impossible romance , but we root for the patronized iranian lad . 
like dickens with his passages , mcgrath crafts quite moving scenes throughout his resolutely dramatic variation on the novel . 
there's a disreputable air about the whole thing , and that's what makes it irresistible . 
an exceedingly clever piece of cinema . another great ‘what you don't see' is much more terrifying than what you do see thriller , coupled with some arresting effects , incandescent tones and stupendous performances
a carefully structured scream of consciousness that is tortured and unsettling--but unquestionably alive . 
a quietly reflective and melancholy new zealand film about an eventful summer in a 13-year-old girl's life . 
cute , funny , heartwarming digitally animated feature film with plenty of slapstick humor for the kids , lots of in-jokes for the adults and heart enough for everyone . 
very solid , very watchable first feature for director peter sheridan
a budget affair that exposes the generally sad existence of the bedouins while providing a precious twinkle of insight into their lives . 
it suggests the wide-ranging effects of media manipulation , from the kind of reporting that is done by the supposedly liberal media . . . to the intimate and ultimately tragic heartache of maverick individuals like hatfield and hicks . 
workmanlike , maybe , but still a film with all the elements that made the other three great , scary times at the movies . 
a pleasant enough comedy that should have found a summer place . 
branagh , in his most forceful non-shakespeare screen performance , grounds even the softest moments in the angry revolt of his wit . 
though the violence is far less sadistic than usual , the film is typical miike : fast , furious and full of off-the-cuff imaginative flourishes . 
compelling as it is exotic , fast runner has a plot that rivals shakespeare for intrigue , treachery and murder . 
what it lacks in originality it makes up for in intelligence and b-grade stylishness . 
the warm presence of zhao benshan makes the preposterous lying hero into something more than he reasonably should be . 
this is as powerful a set of evidence as you'll ever find of why art matters , and how it can resonate far beyond museum walls and through to the most painfully marginal lives . 
director rob marshall went out gunning to make a great one . 
skip work to see it at the first opportunity . 
bow's best moments are when he's getting busy on the basketball court because that's when he really scores . 
offers enough playful fun to entertain the preschool set while embracing a wholesome attitude . 
in the end , punch-drunk love is one of those films that i wanted to like much more than i actually did . sometimes , that's enough . 
an intimate , good-humored ethnic comedy like numerous others but cuts deeper than expected . 
ice cube holds the film together with an engaging and warm performance . . . 
both deeply weird and charmingly dear . 
as blunt as it is in depicting child abuse , el bola is a movie steeped in an ambiguity that lends its conflicts a symbolic resonance . 
despite a story predictable enough to make the sound of music play like a nail-biting thriller , its heart is so much in the right place it is difficult to get really peeved at it . 
it's a masterpiece . 
an incredibly low-rent danish film , it brings a group of people together in a sweet and charming way , if a little convenient
it's the cinematic equivalent of a good page-turner , and even if it's nonsense , its claws dig surprisingly deep . 
director nalin pan doesn't do much to weigh any arguments one way or the other . he simply presents his point of view that ayurveda works . no question . 
what " empire " lacks in depth it makes up for with its heart . 
claude miller airs out a tight plot with an easy pace and a focus on character drama over crime-film complications . 
what full frontal lacks in thematic coherence it largely makes up for as loosey-goosey , experimental entertainment . still , i'm not quite sure what the point is…
rich in detail , gorgeously shot and beautifully acted , les destinees is , in its quiet , epic way , daring , inventive and refreshingly unusual . 
 ( a ) hollywood sheen bedevils the film from the very beginning . . . ( but ) lohman's moist , deeply emotional eyes shine through this bogus veneer . . . 
do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-year-old woman doesn't work ? 
ford deserves to be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier . 
the film's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen . 
don't expect any surprises in this checklist of teamwork cliches . . . 
as adapted by kevin molony from simon leys' novel " the death of napoleon " and directed by alan taylor , napoleon's journey is interesting but his parisian rebirth is stillborn
the movie addresses a hungry need for pg-rated , nonthreatening family movies , but it doesn't go too much further . 
this warm and gentle romantic comedy has enough interesting characters to fill several movies , and its ample charms should win over the most hard-hearted cynics . 
a yarn that respects the marvel version without becoming ensnared by it . 
this is a happy throwback to the time when cartoons were cinema's most idiosyncratic form instead of one of its most predictable . 
complex , affecting and uniquely almodóvar , the film evokes strong emotions and pushes viewers to question their deepest notions of moral right and wrong . 
good ol' urban legend stuff . 
not so much a movie as a picture book for the big screen . this isn't my favorite in the series , still i enjoyed it enough to recommend . 
it's one of the most honest films ever made about hollywood . 
it is a film that will have people walking out halfway through , will encourage others to stand up and applaud , and will , undoubtedly , leave both camps engaged in a ferocious debate for years to come . 
on its own cinematic terms , it successfully showcases the passions of both the director and novelist byatt . 
light , silly , photographed with colour and depth , and rather a good time . 
pray's film works well and will appeal even to those who aren't too familiar with turntablism . 
troubling and powerful . 
good movie . good actress . but if you expect light romantic comedy , good gosh , will you be shocked . 
it has the courage to wonder about big questions with sincerity and devotion . it risks seeming slow and pretentious , because it thinks the gamble is worth the promise . 
with youthful high spirits , tautou remains captivating throughout michele's religious and romantic quests , and she is backed by a likable cast . 
it's an example of sophisticated , challenging filmmaking that stands , despite its noticeable lack of emotional heft , in welcome contrast to the indulgent dead-end experimentation of the director's previous full frontal . 
a very funny look at how another culture handles the process of courting and marriage . 
but tongue-in-cheek preposterousness has always been part of for the most part wilde's droll whimsy helps " being earnest " overcome its weaknesses and parker's creative interference . . . 
much of the movie's charm lies in the utter cuteness of stuart and margolo . their computer-animated faces are very expressive . 
the path ice age follows most closely , though , is the one established by warner bros . giant chuck jones , who died a matter of weeks before the movie's release . 
anchored by a terrific performance by abbass , satin rouge shows that the idea of women's self-actualization knows few continental divides . 
awkward but sincere and , ultimately , it wins you over . 
smith profiles five extraordinary american homes , and because the owners seem fully aware of the uses and abuses of fame , it's a pleasure to enjoy their eccentricities . 
though the plot is predictable , the movie never feels formulaic , because the attention is on the nuances of the emotional development of the delicate characters . 
sam jones became a very lucky filmmaker the day wilco got dropped from their record label , proving that one man's ruin may be another's fortune . 
goyer's screenplay and direction are thankfully understated , and he has drawn excellent performances from his cast . 
binoche and magimel are perfect in these roles . 
when your leading ladies are a couple of screen-eating dominatrixes like goldie hawn and susan sarandon at their raunchy best , even hokum goes down easily . 
while undercover brother is definitely one for the masses , it's also full of sharp , smart satire . 
gets under the skin of a man who has just lost his wife . 
it may not be " last tango in paris " but . . . 
no wonder they're talking about " talk to her . " it's astonishing . 
for its seriousness , high literary aspirations and stunning acting , the film can only be applauded . 
look , this is a terrific flick replete with dazzling camera-work , dancing and music . 
it is inspirational in characterizing how people from such diverse cultures share the same human and spiritual needs . 
it's fairly self-aware in its dumbness . 
a triumph , relentless and beautiful in its downbeat darkness . 
tailored to entertain ! 
a compelling , moving film that respects its audience and its source material . 
has a plot full of twists upon knots . . . and a nonstop parade of mock-tarantino scuzbag types that starts out clever but veers into overkill . 
a work of astonishing delicacy and force . 
the film benefits greatly from a less manic tone than its predecessor , as cho appears to have settled comfortably into her skin . 
for the first time in several years , mr . allen has surpassed himself with the magic he's spun with the hollywood empress of ms . leoni's ellie . 
isn't quite the equal of woo's best earlier work , but it's easily his finest american film . . . comes close to recapturing the brilliance of his hong kong films . 
the film hinges on its performances , and both leads are up to the task . 
an intelligent , earnest , intimate film that drops the ball only when it pauses for blunt exposition to make sure you're getting its metaphysical point . 
a modest pleasure that accomplishes its goals with ease and confidence . 
a breezy , diverting , conventional , well-acted tale of two men locked in an ongoing game of cat-and-cat . 
what jackson has accomplished here is amazing on a technical level . 
as teen movies go , " orange county " is a refreshing change
makes s&m seem very romantic , and maggie gyllenhaal is a delight . 
a deliciously mordant , bitter black comedy . 
although life or something like it is very much in the mold of feel-good movies , the cast and director stephen herek's polished direction pour delightfully piquant wine from aged bottles . 
it is risky , intelligent , romantic and rapturous from start to finish . 
the movie sticks much closer to hornby's drop-dead confessional tone than the film version of high fidelity did . 
a pleasant ramble through the sort of idoosyncratic terrain that errol morris has often dealt with . . . it does possess a loose , lackadaisical charm . 
 . . . spiced with humor ( 'i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand ) and witty updatings ( silver's parrot has been replaced with morph , a cute alien creature who mimics everyone and everything around ) 
this is a raw and disturbing tale that took five years to make , and the trio's absorbing narrative is a heart-wrenching showcase indeed . 
a beautiful and haunting examination of the stories we tell ourselves to make sense of the mundane horrors of the world . 
aside from being the funniest movie of the year , simone , andrew niccol's brilliant anti-hollywood satire , has a wickedly eccentric enchantment to it . 
watstein handily directs and edits around his screenplay's sappier elements . . . and sustains off the hook's buildup with remarkable assuredness for a first-timer . 
just another fish-out-of-water story that barely stays afloat . 
there's an energy to y tu mamá también . much of it comes from the brave , uninhibited performances by its lead actors . 
it's the kind of pigeonhole-resisting romp that hollywood too rarely provides . 
reinforces the often forgotten fact of the world's remarkably varying human population and mindset , and its capacity to heal using creative , natural and ancient antidotes . 
you can feel the heat that ignites this gripping tale , and the humor and humanity that root it in feeling . 
it's hard not to be seduced by [witherspoon's] charisma , even in this run-of-the-mill vehicle , because this girl knows how to drive it to the max . 
a movie for 11-year-old boys with sports dreams of their own and the preteen girls who worship lil' bow wow . 
a refreshingly authentic coming-of-age tale . 
if you're not into the pokemon franchise , this fourth animated movie in four years won't convert you -- or even keep your eyes open . but fans should have fun meeting a brand-new pokemon called celebi . 
from the big giant titles of the opening credits to elmer bernstein's perfectly melodic score , haynes gets just about everything right . 
whether seen on a 10-inch television screen or at your local multiplex , the edge-of-your-seat , educational antics of steve irwin are priceless entertainment . 
has a shambling charm . . . a cheerfully inconsequential diversion . 
ferrara directs the entire film with the kind of detachment that makes any given frame look like a family's custom-made christmas card . 
the movie has lots of dancing and fabulous music . there are slow and repetitive parts , but it has just enough spice to keep it interesting . 
an incredibly clever and superbly paced caper filled with scams within scams within scams . 
there's not much more to this adaptation of the nick hornby novel than charm -- effortless , pleasurable , featherweight charm . 
as a belated nod to some neglected all-stars , standing in the shadows of motown is cultural history of the best kind : informative , revealing and richly entertaining . 
even if the ride's a little bumpy , with a final lap that's all too suspiciously smooth , you gotta give director roger michell , best known for the superfluous notting hill , credit for trying . 
not as distinctive or even as humorous as its needs to be to stand out , but it has clearly been made with affection and care . 
this is carion's debut feature but his script and direction hums with a confidence that many spend entire careers trying to reach . 
an intelligent , moving and invigorating film . 
ofrece una buena oportunidad de cultura ( aunque sea condensada ) que bien vale la pena aprovechar . 
 . . . one of the most ingenious and entertaining thrillers i've seen in quite a long time . 
a clever blend of fact and fiction . 
a vivid cinematic portrait . 
hilarious , touching and wonderfully dyspeptic . 
es divertida , visualmente espectacular y muy entretenida . simple y sencillamente te sorprenderá . 
theirs is a simple and heart-warming story , full of mirth that should charm all but the most cynical . 
the film is an enjoyable family film -- pretty much aimed at any youngster who loves horses . 
a frisky and fresh romantic comedy exporing sexual politics and the challenges of friendships between women . 
it's a good film -- not a classic , but odd , entertaining and authentic . 
flavorful and romantic , you could call this how martha got her groove back -- assuming , that is , she ever had one to begin with . 
happily for mr . chin -- though unhappily for his subjects -- the invisible hand of the marketplace wrote a script that no human screenwriter could have hoped to match . 
thurman and lewis are hilarious throughout . 
the plot is so amusingly contrived and outlandish in its coincidences that no one could ever mistake it for anything resembling reality
hits one out of the park for the 'they don't make 'em like that anymore' department . 
it dares to be a little different , and that shading is what makes it worthwhile . 
[fessenden] is much more into ambiguity and creating mood than he is for on screen thrills
the comic performances are all spot on , especially lee ross's turn as ken . 
a compelling journey . . . and " his best friend remembers " is up there with the finest of specials . 
at nearly three hours , the whole of safe conduct is less than the sum of its parts . 
the hours makes you examine your own life in much the same way its characters do , and the experience is profound . the hours is what movies are supposed to be . . . 
a bold and subversive film that cuts across the grain of what is popular and powerful in this high-tech age , speaking its truths with spellbinding imagery and the entrancing music of philip glass . 
pretty darn good , despite its smarty-pants aura . 
so young , so smart , such talent , such a wise . 
woo's fights have a distinct flair . his warriors collide in balletic explosion that implies an underlying order throughout the chaos . 
barney has created a tour de force that is weird , wacky and wonderful . 
the ending does leave you unfulfilled , but these are performances to enjoy in a memorable ensemble piece . 
 . . . an agreeable time-wasting device -- but george pal's low-tech 1960 version still rules the epochs . 
it's a brave attempt to tap into the heartbeat of the world , a salute to the universal language of rhythm and a zippy sampling of sounds . 
offers an unusual opportunity to observe the inequities in the death penalty , not just the inherent immorality but also the haphazard administration of it and public misperception of how the whole thing works . 
i don't think i've been as entranced and appalled by an asian film since shinya tsukamoto's iron man . 
it is so refreshing to see robin williams turn 180 degrees from the string of insultingly innocuous and sappy fiascoes he's been making for the last several years . 
director benoit jacquot , making his first opera-to-film translation with tosca , conveys the heaving passion of puccini's famous love-jealousy- murder-suicide fandango with great cinematic innovation . 
lilia's transformation from strict mother to sensual siren is superficially preposterous , but abbas infuses the role with an unimpeachable core of emotional truth . 
frida's artistic brilliance is undeniable -- it's among the most breathtakingly designed films i've ever seen . 
the perfect film for those who like sick comedies that can be snide . 
'charly' will divide its audience in two separate groups , those reaching for more tissues and those begging for mercy . . . 
nervy and sensitive , it taps into genuine artistic befuddlement , and at the same time presents a scathing indictment of what drives hollywood . 
a marvellous journey from childhood idealism to adolescent self-absorption . 
the film is just a big , gorgeous , mind-blowing , breath-taking mess . 
sharp , lively , funny and ultimately sobering film . 
though the film's scenario is certainly not earthshaking , this depiction of fluctuating female sexuality has two winning lead performances and charm to spare . 
a worthy tribute to a great humanitarian and her vibrant 'co-stars . '
a recent favourite at sundance , this white-trash satire will inspire the affection of even those unlucky people who never owned a cassette of def leppard's pyromania . 
the recording session is the only part of the film that is enlightening -- and how appreciative you are of this depends on your level of fandom . 
occasionally funny and consistently odd , and it works reasonably well as a star vehicle for zhao . 
bright seems alternately amused and disgusted with this material , and he can't help throwing in a few of his own touches . 
the 3d images only enhance the film's otherworldly quality , giving it a strange combo of you-are-there closeness with the disorienting unreality of the seemingly broken-down fourth wall of the movie screen . 
andersson creates a world that's at once surreal and disturbingly familiar ; absurd , yet tremendously sad . 
it's predictable , but it jumps through the expected hoops with style and even some depth . 
often hilarious , well-shot and , importantly , entertaining , hell house is a fascinating document of an event that has to be seen to be believed . 
de oliveira creates an emotionally rich , poetically plump and visually fulsome , but never showy , film whose bittersweet themes are reinforced and brilliantly personified by michel piccoli . 
 . . . an inviting piece of film . 
the film's real appeal won't be to clooney fans or adventure buffs , but to moviegoers who enjoy thinking about compelling questions with no easy answers . 
the fact that the rookie is a nearly impeccable cinematic experience -- and a wonderful all-ages triumph besides -- is a miracle akin to the story the film portrays . 
a deviant topical comedy which is funny from start to finish . 
a startling and fresh examination of how the bike still remains an ambiguous icon in chinese society . 
a highly intriguing thriller , coupled with some ingenious plot devices and some lavishly built settings . . it's a worthwhile tutorial in quantum physics and slash-dash
as hugh grant says repeatedly throughout the movie , 'lovely ! brilliant ! '
cho's fearless in picking apart human foibles , not afraid to lay her life bare in front of an audience . her delivery and timing are flawless . 
works because , for the most part , it avoids the stupid cliches and formulaic potholes that befall its brethren . 
at its best , the good girl is a refreshingly adult take on adultery . . . 
an amazing and incendiary movie that dives straight into the rough waters of contradiction . 
about nowhere kids who appropriated turfs as they found them and become self-made celebrity athletes -- a low-down version of the american dream . 
occasionally , in the course of reviewing art-house obscurities and slam-bam action flicks , a jaded critic smacks into something truly new . 
a miniscule little bleep on the film radar , but one that many more people should check out
desta vez , columbus capturou o pomo de ouro . 
 " 13 conversations " holds its goodwill close , but is relatively slow to come to the point . 
a slick , well-oiled machine , exquisitely polished and upholstered . 
don't plan on the perfect ending , but sweet home alabama hits the mark with critics who escaped from a small town life . 
it has a subtle way of getting under your skin and sticking with you long after it's over . 
the movie stays afloat thanks to its hallucinatory production design . 
it helps that the central performers are experienced actors , and that they know their roles so well . 
a provocative movie about loss , anger , greed , jealousy , sickness and love . 
worth the effort to watch . 
that rara avis : the intelligent romantic comedy with actual ideas on its mind . 
boisterous and daft documentary . 
hawke draws out the best from his large cast in beautifully articulated portrayals that are subtle and so expressive they can sustain the poetic flights in burdette's dialogue . 
a work of the utmost subtlety and perception , it marks the outstanding feature debut of writer-director eric byler , who understands the power of the implicit and the virtues of simplicity and economy . 
full frontal is the antidote for soderbergh fans who think he's gone too commercial since his two oscar nominated films in 2000
it turns out to be a cut above the norm , thanks to some clever writing and sprightly acting . 
you might not want to hang out with samantha , but you'll probably see a bit of yourself in her unfinished story . 
a work of intricate elegance , literary lyricism and profound common sense . 
it's as close as we'll ever come to looking through a photographer's viewfinder as he works . 
thoughtful , provocative and entertaining . 
witty , touching and well paced . 
lee jeong-hyang tells it so lovingly and films it so beautifully that i couldn't help being captivated by it . 
you have to pay attention to follow all the stories , but they're each interesting . the movie is well shot and very tragic , and one to ponder after the credits roll . 
enjoy it for what it is ; you can hate yourself later . 
a map of the inner rhythms of love and jealousy and sacrifice drawn with a master's steady stroke . 
más sarcástica , divertida y demencial que su predecesora , es un buen ejemplo de lo que es el cine de entretenimiento puro y sin complejos . 
a psychological thriller with a smart script and an obsessive-compulsive's attention to detail . 
often hilarious . 
grant gets to display his cadness to perfection , but also to show acting range that may surprise some who thought light-hearted comedy was his forte . 
at times funny and at other times candidly revealing , it's an intriguing look at two performers who put themselves out there because they love what they do . 
westfeldt and juergensen exude a chemistry and comfort level that's both saucy and endearing . 
harsh , effective documentary on life in the israeli-occupied palestinian territories . 
the film is all a little lit crit 101 , but it's extremely well played and often very funny . 
earns its laughs from stock redneck 'types' and from the many , many moments when we recognize even without the elizabethan prose , the play behind the thing . 
a real story about real people living their lives concerned about the future of an elderly , mentally handicapped family member . 
it's absolutely spooky how lillard channels the shagster right down to the original casey kasem-furnished voice . 
a dream cast of solid female talent who build a seamless ensemble . there isn't a weak or careless performance amongst them . 
smart science fiction for grown-ups , with only a few false steps along the way . 
it's a refreshing change from the self-interest and paranoia that shape most american representations of castro . 
often moving and explores the discomfort inherent in the contacts between the american 'hosts' and their 'guests . '
though the controversial korean filmmaker's latest effort is not for all tastes , it offers gorgeous imagery , effective performances , and an increasingly unsettling sense of foreboding . 
lathan and diggs have considerable personal charm , and their screen rapport makes the old story seem new . 
the story may not be new , but australian director john polson , making his american feature debut , jazzes it up adroitly . 
it's endearing to hear madame d . refer to her husband as 'jackie' -- and he does make for excellent company , not least as a self-conscious performer . 
the film often achieves a mesmerizing poetry . 
more than makes up for its mawkish posing by offering rousing spates of genuine feeling . 
it's neither as romantic nor as thrilling as it should be . but it offers plenty to ponder and chew on as its unusual relationship slowly unfolds . 
occasionally funny , always very colorful and enjoyably overblown in the traditional almodóvar style . 
merchant effectively translates naipaul's lively mix of characters from the page to screen . 
some movies are like a tasty hors-d'oeuvre ; this one is a feast . 
what could have become just another cautionary fable is allowed to play out as a clever , charming tale – as pleasantly in its own way as its self-dramatizing characters . 
davis has filled out his cast with appealing fresh faces . 
achieves a sort of filmic epiphany that revels in the true potential of the medium . 
once you get into its rhythm . . . the movie becomes a heady experience . 
 " auto focus " works as an unusual biopic and document of male swingers in the playboy era
if mr . zhang's subject matter is , to some degree at least , quintessentially american , his approach to storytelling might be called iranian . 
a fast-moving and remarkable film that appears destined to become a landmark in japanese animation . 
 . . . a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920's . . . the film's ending has a " what was it all for ? " feeling to it , but like the 1920's , the trip there is a great deal of fun . 
a worthy entry into a very difficult genre . 
[broomfield] uncovers a story powerful enough to leave the screen sizzling with intrigue . 
eight crazy nights is a showcase for sandler's many talents . 
a sweet-natured reconsideration of one of san francisco's most vital , if least widely recognized , creative fountainheads . 
this is one of the most visually stunning and thematically moving epics in recent memory , and in spite of numerous minor flaws , scorsese's best in more than a decade . 
everywhere the camera looks there is something worth seeing . 
a richly imagined and admirably mature work from a gifted director who definitely has something on his mind . 
it's a nicely detailed world of pawns , bishops and kings , of wagers in dingy backrooms or pristine forests . 
a charming , quirky and leisurely paced scottish comedy -- except with an outrageous central gimmick that could have been a reject from monty python's meaning of life . 
it never fails to engage us . 
its direction , its script , and weaver's performance as a vaguely discontented woman of substance make for a mildly entertaining 77 minutes , if that's what you're in the mood for . 
a charming romantic comedy that is by far the lightest dogme film and among the most enjoyable . 
this is the kind of movie that used to be right at home at the saturday matinee , and it still is . 
the spark of special anime magic here is unmistakable and hard to resist . 
like its two predecessors , 1983's koyaanisqatsi and 1988's powaqqatsi , the cinematic collage naqoyqatsi could be the most navel-gazing film ever . 
baran isn't the most transporting or gripping film from iran -- or , indeed , by its director -- but it's a worthy companion to the many fine , focused films emerging from that most surprising of nations . 
the visuals alone make metropolis worth seeing . 
dark , resonant , inventively detailed and packed with fleet turns of plot and a feast of visual amazement . 
a picture that extols the virtues of comradeship and community in a spunky , spirited fashion . 
a resonant tale of racism , revenge and retribution . 
noyce's film is contemplative and mournfully reflective . 
here , adrian lyne comes as close to profundity as he is likely to get . 
evokes a little of the fear that parents have for the possible futures of their children--and the sometimes bad choices mothers and fathers make in the interests of doing them good . 
uno de los policiales más interesantes de los últimos tiempos . 
rain is a small treasure , enveloping the viewer in a literal and spiritual torpor that is anything but cathartic . 
an elegant , exquisitely modulated psychological thriller . 
this concoction , so bizarre to the adult mind , is actually a charming triumph where its intended under-12 audience is concerned . 
droll caper-comedy remake of " big deal on madonna street " that's a sly , amusing , laugh-filled little gem in which the ultimate " bellini " begins to look like a " real kaputschnik . " 
it's a beautifully accomplished lyrical meditation on a bunch of despondent and vulnerable characters living in the renown chelsea hotel . . . 
is it a total success ? no . is it something any true film addict will want to check out ? you bet . 
zany , exuberantly irreverent animated space adventure . 
dolgin and franco fashion a fascinating portrait of a vietnamese-born youngster who eagerly and easily assimilated as an all-american girl with a brand new name in southern tennessee . 
the disarming cornball atmosphere has a way of infecting the entire crowd as the film rolls on . 
a refreshingly honest and ultimately touching tale of the sort of people usually ignored in contemporary american film . search it out . 
engrossing and affecting , if ultimately not quite satisfying . 
the story , like life , refuses to be simple , and the result is a compelling slice of awkward emotions . 
a sly game of cat and mouse that's intense and thrilling at times , but occasionally stretches believability to its limits and relies on predictable plot contrivances . 
funny and , at times , poignant , the film from director george hickenlooper all takes place in pasadena , " a city where people still read . " 
this horror-comedy doesn't go for the usual obvious laughs at the expense of cheap-looking monsters -- unless you count elvira's hooters . 
the movie's eventual success should be credited to dennis quaid , in fighting trim shape as an athlete as well as an actor
not a bad journey at all . 
sits uneasily as a horror picture . . . but finds surprising depth in its look at the binds of a small family . 
windtalkers blows this way and that , but there's no mistaking the filmmaker in the tall grass , true to himself . 
there is a refreshing absence of cynicism in stuart little 2--quite a rarity , even in the family film market . eventually , it wins you over . 
noyce films it more as a shocking history lesson than as drama . 
like a south-of-the-border melrose place . 
those with an interest in new or singular sorts of film experiences will find what time is it there ? well worth the time . 
a wildly funny prison caper . 
huppert gives erika a persona that is so intriguing that you find yourself staring hypnotically at her , trying to understand her and wondering if she'll crack . 
despite what anyone believes about the goal of its makers , the show . . . represents a spectacular piece of theater , and there's no denying the talent of the creative forces behind it . 
you'll be left with the sensation of having just witnessed a great performance and , perhaps , give in to the urge to get on your feet and shake it . 
the actors are so terrific at conveying their young angst , we do indeed feel for them . 
the reason this picture works better than its predecessors is that myers is no longer simply spoofing the mini-mod-madness of '60s spy movies . 
it is a kickass , dense sci-fi action thriller hybrid that delivers and then some . i haven't seen one in so long , no wonder i didn't recognize it at first . 
a compelling portrait of moral emptiness
in adobo , ethnicity is not just the spice , but at the heart of more universal concerns . 
it is ridiculous , of course . . . but it is also refreshing , disarming , and just outright enjoyable despite its ridiculousness . 
 . . . blade ii is more enjoyable than the original . 
a film that takes you inside the rhythms of its subject : you experience it as you watch . 
the movie exists for its soccer action and its fine acting . 
the movie is saved from unbearable lightness by the simplicity of the storytelling and the authenticity of the performances . 
the film starts out as competent but unremarkable . . . and gradually grows into something of considerable power . 
nothing denis has made before , like beau travil and nenette et boni , could prepare us for this gory , perverted , sex-soaked riff on the cannibal genre . 
reinforces the talents of screenwriter charlie kaufman , creator of adaptation and being john malkovich . 
greene delivers a typically solid performance in a role that is a bit of a departure from the noble characters he has played in the past , and he is matched by schweig , who carries the film on his broad , handsome shoulders . 
finds a way to tell a simple story , perhaps the simplest story of all , in a way that seems compelling and even original . 
a stunning piece of visual poetry that will , hopefully , be remembered as one of the most important stories to be told in australia's film history . 
this is art paying homage to art . 
 . . . a joke at once flaky and resonant , lightweight and bizarrely original . 
invincible is a wonderful movie . 
 . . . a cute and sometimes side-splittingly funny blend of legally blonde and drop dead gorgeous , starring piper perabo in what could be her breakthrough role . 
dazzling and sugar-sweet , a blast of shallow magnificence that only sex , scandal , and a chorus line of dangerous damsels can deliver . 
occasionally amateurishly made but a winsome cast and nice dialogue keeps it going . 
japan's premier stylist of sex and blood hits audiences with what may be his most demented film to date . 
culkin , who's in virtually every scene , shines as a young man who uses sarcastic lies like a shield . 
cuts right through the b . s . giving a big middle-fingered " shut up " to those who talk up what is nothing more than two guys beating the hell outta one another . 
the am-radio soundtrack and game cast -- tierney and the inimitable walken especially -- keep this unusual comedy from choking on its own conceit . 
 . . . does such a fine job of engulfing you in its world and allying you with its characters' choices , good and ill , that its shortcomings are remembered only as an afterthought . 
marvelous , merry and , yes , melancholy film . 
from spiritual rebirth to bruising defeat , vincent's odyssey resonates in a profound way , comparable to the classic films of jean renoir . 
novak manages to capture a cruelly hilarious vein of black comedy in the situation with his cast of non-actors and a gritty , no-budget approach . 
insomnia is involving . still , i thought it could have been more . 
there was time on that second round to see the subtleties of ramsay's portrait of grief . 
we can see the wheels turning , and we might resent it sometimes , but this is still a nice little picture , made by bright and friendly souls with a lot of good cheer . 
a comprehensive and provocative film -- one that pushes the boundaries of biography , and challenges its audience . 
the way coppola professes his love for movies -- both colorful pop junk and the classics that unequivocally qualify as art -- is giddily entertaining . 
a modest masterpiece . 
a worthwhile way to spend two hours . 
francophiles will snicker knowingly and you'll want to slap them . 
sensitive , insightful and beautifully rendered film . one of the best of the year . 
a love for films shines through each frame and the era is recreated with obvious affection , scored to perfection with some tasty boogaloo beats . 
throwing caution to the wind with an invitation to the hedonist in us all , nair has constructed this motion picture in such a way that even the most cynical curmudgeon with find himself or herself smiling at one time or another . 
makes an aborbing if arguable case for the man's greatness . 
an endlessly fascinating , landmark movie that is as bold as anything the cinema has seen in years . 
 . . . a haunting vision , with images that seem more like disturbing hallucinations . 
they crush each other under cars , throw each other out windows , electrocute and dismember their victims in full consciousness . and we don't avert our eyes for a moment . 
it is not a mass-market entertainment but an uncompromising attempt by one artist to think about another . 
frailty isn't as gory or explicit . but in its child-centered , claustrophobic context , it can be just as frightening and disturbing -- even punishing . 
mixes likeable personalities , inventive photography and cutting , and wall-to-wall toe-tapping music to paint a picture of a subculture that is at once exhilarating , silly , perverse , hopeful and always fun . 
the long-range appeal of " minority report " should transcend any awards it bags . this is one for the ages . 
[a] superbly controlled , passionate adaptation of graham greene's 1955 novel . 
much monkeyfun for all . 
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 . 
[hawn's character]is so bluntly written , without a trace of sentimentality , and so blisteringly defined , that every other character seems overlooked and underwritten . 
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 . 
the powers team has fashioned a comedy with more laughs than many , no question . but this time there's some mold on the gold . 
while surprisingly sincere , this average little story is adorned with some awesome action photography and surfing . 
it is far from the worst , thanks to the topical issues it raises , the performances of stewart and hardy , and that essential feature -- a decent full-on space battle . 
a film that is a portrait of grace in an imperfect world . 
a pleasurably jacked-up piece of action moviemaking . 
nicolas philibert observes life inside a one-room schoolhouse in northern france in his documentary to be and to have , easily one of the best films of the year . 
a perverse little truffle , dainty psychological terror on the outside with a creamy filling of familial jealousy and unrepentant domestic psychopathy . 
this ecologically minded , wildlife friendly film teaches good ethics while entertaining with its unconventionally wacky but loving family
an enjoyably half-wit remake of the venerable italian comedy big deal on madonna street . 
it takes this never-ending confusion and hatred , puts a human face on it , evokes shame among all who are party to it and even promotes understanding . 
reign of fire may be little more than another platter of reheated aliens , but it's still pretty tasty . 
there are times when a rumor of angels plays like an extended episode of touched by an angel -- a little too much dancing , a few too many weeping scenes -- but i liked its heart and its spirit . 
two hours of melodramatic musical married to two hours of underdog sports intrigue , if the picture also shares the weaknesses of both genres , more's the pity . 
this cheery , down-to-earth film is warm with the cozy feeling of relaxing around old friends . 
thrilling , provocative and darkly funny , this timely sci-fi mystery works on so many different levels that it not only invites , it demands repeated viewings . 
a tale of horror and revenge that is nearly perfect in its relentless descent to the depths of one man's tortured soul . 
an epic of grandeur and scale that's been decades gone from the popcorn pushing sound stages of hollywood . 
genuinely touching because it's realistic about all kinds of love . 
lauren ambrose comes alive under the attention from two strangers in town - with honest performances and realistic interaction between the characters , this is a coming-of-age story with a twist . 
there has been much puzzlement among critics about what the election symbolizes . i believe the message is in the messenger : the agent is a woman . 
an enjoyable film for the family , amusing and cute for both adults and kids . 
 " the mothman prophecies " is a difficult film to shake from your conscience when night falls . 
the second chapter of the harry potter series is even more magical than the first and simply the best family film of the year . 
more honest about alzheimer's disease , i think , than iris . 
the acting alone is worth the price of admission . 
an excellent romp that boasts both a heart and a mind . 
interacting eyeball-to-eyeball and toe-to-toe , hopkins and norton are a winning combination -- but fiennes steals 'red dragon' right from under their noses . 
this is a terrific character study , a probe into the life of a complex man . 
impresses you with its open-endedness and surprises . 
this isn't a narrative film -- i don't know if it's possible to make a narrative film about september 11th , though i'm sure some will try -- but it's as close as anyone has dared to come . 
my oh my , is this an invigorating , electric movie . 
the two leads chomp considerably more scenery with their acting than fire-breathing monsters barbecue with their breath . . . 
cedar takes a very open-minded approach to this sensitive material , showing impressive control , both visually and in the writing . 
never once predictable . 
biggie and tupac is so single-mindedly daring , it puts far more polished documentaries to shame . 
so many documentaries like this presuppose religious bigotry or zealous nuttiness of its antagonists , but family fundamentals displays a rare gift for unflinching impartiality . 
the cast is uniformly excellent and relaxed . 
after making several adaptations of other writers' work , armenian-canadian director atom egoyan broached an original treatment of a deeply personal subject . 
the film is painfully authentic , and the performances of the young players are utterly convincing . 
if it seems like a minor miracle that its septuagenarian star is young enough to be the nonagenarian filmmaker's son , more incredible still are the clear-eyed boldness and quiet irony with which actor and director take on life's urgent questions . 
a candid and often fascinating documentary about a pentecostal church in dallas that assembles an elaborate haunted house each year to scare teenagers into attending services . 
fans of the animated wildlife adventure show will be in warthog heaven ; others need not necessarily apply . 
without resorting to hyperbole , i can state that kissing jessica stein may be the best same-sex romance i have seen . 
nolan bravely treads where few american films dare to delve -- into the world of ambivalence and ambiguity . . . 
unlike the nauseating fictions peddled by such 'have-yourself-a-happy-little-holocaust' movies as life is beautiful and jakob the liar , the grey zone is honest enough to deny the possibility of hope in auschwitz . 
a potent allegorical love story . 
even those who would like to dismiss the film outright should find much to mull and debate . 
this is cool , slick stuff , ready to quench the thirst of an audience that misses the summer blockbusters . 
the movie is full of fine performances , led by josef bierbichler as brecht and monica bleibtreu as helene weigel , his wife . 
a captivating cross-cultural comedy of manners . 
andy garcia enjoys one of his richest roles in years and mick jagger gives his best movie performance since , well , performance . 
the movie isn't always easy to look at . but if it is indeed a duty of art to reflect life , than leigh has created a masterful piece of artistry right here . 
it's [ricci's] best work yet , this girl-woman who sincerely believes she can thwart the world's misery with blind good will . 
highlights are the terrific performances by christopher plummer , as the prime villain , and nathan lane as vincent crummles , the eccentric theater company manager . 
[howard] so good as leon barlow . . . that he hardly seems to be acting . 
an uplifting , near-masterpiece . 
superior genre storytelling , which gets under our skin simply by crossing the nuclear line . 
by taking entertainment tonight subject matter and giving it humor and poignancy , auto focus becomes both gut-bustingly funny and crushingly depressing . 
it's a bittersweet and lyrical mix of elements . 
subversive , meditative , clinical and poetic , the piano teacher is a daring work of genius . 
the weakest of the four harry potter books has been transformed into the stronger of the two films by the thinnest of margins . 
its gross-out gags and colorful set pieces . . . are of course stultifyingly contrived and too stylized by half . still , it gets the job done -- a sleepy afternoon rental . 
it further declares its director , zhang yang of shower , as a boldly experimental , contemporary stylist with a bright future . 
smith's approach is never to tease , except gently and in that way that makes us consider our own eccentricities and how they are expressed through our homes . 
full of profound , real-life moments that anyone can relate to , it deserves a wide audience . 
a movie that will touch the hearts of both children and adults , as well as bring audiences to the edge of their seats . 
leave it to rohmer , now 82 , to find a way to bend current technique to the service of a vision of the past that is faithful to both architectural glories and commanding open spaces of the city as it was more than two centuries ago . 
fine acting but there is no sense of connecting the dots , just dots . 
an extraordinary swedish film about the soul adventure of marriage -- the kind of intimate and character-driven film that bille august does best . 
a blessed gift to film geeks and historians . if the '70's were your idea of a good time at the movies , this will make you very happy . 
it took 19 predecessors to get this ? 
thoughtful , even stinging at times , and lots of fun . 
one of the most haunting , viciously honest coming-of-age films in recent memory . 
the wwii drama is well plotted , visually striking and filled with enjoyably complex characters who are never what they first appear . 
it's a pleasure to see seinfeld griping about the biz with buddies chris rock , garry shandling and colin quinn . 
if you love motown music , you'll love this documentary . 
this time out , [sade] is an unsettlingly familiar figure -- in turns loyal and deceitful , responsible and reckless , idealistically selfless and coldly self-interested . 
human resources was a good , straightforward tale , but time out is better . it's haunting . it's like a poem . 
to the film's credit , the acting is fresh and unselfconscious , and munch is a marvel of reality versus sappy sentiment . 
chicago is , in many ways , an admirable achievement . 
shainberg weaves a carefully balanced scenario that is controlled by neither character , is weirdly sympathetic to both and manages to be tender and darkly comic . 
even when foreign directors . . . borrow stuff from hollywood , they invariably shake up the formula and make it more interesting . 
a cockamamie tone poem pitched precipitously between swoony lyricism and violent catastrophe . . . the most aggressively nerve-wracking and screamingly neurotic romantic comedy in cinema history . 
sturdy , entertaining period drama . . . both caine and fraser have their moments . 
whether [binoche and magimel] are being charming or angst-ridden , they easily fill their scenes and , fine judges both , never overcook the hysteria . 
a spunky , original take on a theme that will resonate with singles of many ages . 
it's a glorious groove that leaves you wanting more . 
majidi gets uniformly engaging performances from his largely amateur cast . 
 . . . a well-observed and disturbing little movie
fans of nijinsky will savor every minute of cox's work . 
everything you loved about it in 1982 is still there , for everybody who wants to be a kid again , or show it to their own kids . 
jagger the actor is someone you want to see again . 
warm and exotic . 
escapism in its purest form . 
there is a kind of attentive concern that hoffman brings to his characters , as if he has been giving them private lessons , and now it is time for their first public recital . 
a comic gem with some serious sparkles . 
u . s . audiences may find [attal and gainsbourg's] unfamiliar personas give the film an intimate and quaint reality that is a little closer to human nature than what hollywood typically concocts . 
 " cremaster 3 " should come with the warning " for serious film buffs only ! " 
once again , director jackson strikes a rewarding balance between emotion on the human scale and action/effects on the spectacular scale . 
a loving little film of considerable appeal . 
although it's a bit smug and repetitive , this documentary engages your brain in a way few current films do . 
flawed but worthy look at life in u . s . relocation camps . 
it's a lovely film with lovely performances by buy and accorsi . 
no one goes unindicted here , which is probably for the best . and if you're not nearly moved to tears by a couple of scenes , you've got ice water in your veins . 
a warm , funny , engaging film . 
uses sharp humor and insight into human nature to examine class conflict , adolescent yearning , the roots of friendship and sexual identity . 
half submarine flick , half ghost story , all in one criminally neglected film
entertains by providing good , lively company . 
dazzles with its fully-written characters , its determined stylishness ( which always relates to characters and story ) and johnny dankworth's best soundtrack in years . 
visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality . 
nothing's at stake , just a twisty double-cross you can smell a mile away--still , the derivative nine queens is lots of fun . 
unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners . 
you'll gasp appalled and laugh outraged and possibly , watching the spectacle of a promising young lad treading desperately in a nasty sea , shed an errant tear . 
the band's courage in the face of official repression is inspiring , especially for aging hippies ( this one included ) . 
although german cooking does not come readily to mind when considering the world's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists . 
a beguiling splash of pastel colors and prankish comedy from disney . 
as surreal as a dream and as detailed as a photograph , as visually dexterous as it is at times imaginatively overwhelming . 
[lawrence bounces] all over the stage , dancing , running , sweating , mopping his face and generally displaying the wacky talent that brought him fame in the first place . 
the film serves as a valuable time capsule to remind us of the devastating horror suffered by an entire people . 
what's surprising about full frontal is that despite its overt self-awareness , parts of the movie still manage to break past the artifice and thoroughly engage you . 
whether you like rap music or loathe it , you can't deny either the tragic loss of two young men in the prime of their talent or the power of this movie . 
 . . . an otherwise intense , twist-and-turn thriller that certainly shouldn't hurt talented young gaghan's resume . 
it provides the grand , intelligent entertainment of a superior cast playing smart people amid a compelling plot . 
charming and funny ( but ultimately silly ) movie . 
there's . . . tremendous energy from the cast , a sense of playfulness and excitement that seems appropriate . 
it moves quickly , adroitly , and without fuss ; it doesn't give you time to reflect on the inanity -- and the cold war datedness -- of its premise . 
a deep and meaningful film . 
the film's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip . 
it's a remarkably solid and subtly satirical tour de force . 
enormously entertaining for moviegoers of any age . 
a poignant , artfully crafted meditation on mortality . 
a rarity among recent iranian films : it's a comedy full of gentle humor that chides the absurdity of its protagonist's plight . 
not only is undercover brother as funny , if not more so , than both austin powers films , but it's also one of the smarter , savvier spoofs to come along in some time . 
in a way , the film feels like a breath of fresh air , but only to those that allow it in . 
woody allen's latest is an ambling , broad comedy about all there is to love -- and hate -- about the movie biz . 
it's a stunning lyrical work of considerable force and truth . 
the inhospitability of the land emphasizes the spare precision of the narratives and helps to give them an atavistic power , as if they were tales that had been handed down since the beginning of time . 
[næs] directed the stage version of elling , and gets fine performances from his two leads who originated the characters on stage . 
made me unintentionally famous as the queasy-stomached critic who staggered from the theater and blacked out in the lobby . but believe it or not , it's one of the most beautiful , evocative works i've seen . 
a coda in every sense , the pinochet case splits time between a minute-by-minute account of the british court's extradition chess game and the regime's talking-head survivors . 
like mike is a winner for kids , and no doubt a winner for lil bow wow , who can now add movies to the list of things he does well . 
[t]his beguiling belgian fable , very much its own droll and delicate little film , has some touching things to say about what is important in life and why . 
here's yet another studio horror franchise mucking up its storyline with glitches casual fans could correct in their sleep . but taken as a stylish and energetic one-shot , the queen of the damned cannot be said to suck . 
you won't like roger , but you will quickly recognize him . and that's a big part of why we go to the movies . 
while the stoically delivered hokum of hart's war is never fun , it's still a worthy addition to the growing canon of post-saving private ryan tributes to the greatest generation . 
we know the plot's a little crazy , but it held my interest from start to finish . 
a sober and affecting chronicle of the leveling effect of loss . 
a fast , funny , highly enjoyable movie . 
a celebration of quirkiness , eccentricity , and certain individuals' tendency to let it all hang out , and damn the consequences . 
writer/director joe carnahan's grimy crime drama is a manual of precinct cliches , but it moves fast enough to cover its clunky dialogue and lapses in logic . 
a smart , witty follow-up . 
while the ideas about techno-saturation are far from novel , they're presented with a wry dark humor . 
an infectious cultural fable with a tasty balance of family drama and frenetic comedy . 
although occasionally static to the point of resembling a stage play , the film delivers a solid mixture of sweetness and laughs . 
it provides an honest look at a community striving to anchor itself in new grounds . 
add yet another hat to a talented head , clooney's a good director . 
building slowly and subtly , the film , sporting a breezy spontaneity and realistically drawn characterizations , develops into a significant character study that is both moving and wise . 
ultimately feels empty and unsatisfying , like swallowing a communion wafer without the wine . 
chilling , well-acted , and finely directed : david jacobson's dahmer . 
a swashbuckling tale of love , betrayal , revenge and above all , faith . 
 . . . a true delight . 
without ever becoming didactic , director carlos carrera expertly weaves this novelistic story of entangled interrelationships and complex morality . 
it's a coming-of-age story we've all seen bits of in other films -- but it's rarely been told with such affecting grace and cultural specificity . 
a literate presentation that wonderfully weaves a murderous event in 1873 with murderous rage in 2002 . 
makes even the claustrophobic on-board quarters seem fun . 
this is as respectful a film as byatt fans could hope for , though lovers of the book may wonder why it's necessary . 
one of the best films of the year with its exploration of the obstacles to happiness faced by five contemporary individuals . . . a psychological masterpiece . 
not far beneath the surface , this reconfigured tale asks disturbing questions about those things we expect from military epics . 
for the most part stevens glides through on some solid performances and witty dialogue . 
broomfield turns his distinctive 'blundering' style into something that could really help clear up the case . 
against all odds in heaven and hell , it creeped me out just fine . 
it's refreshing to see a girl-power movie that doesn't feel it has to prove anything . 
it's worth seeing just on the basis of the wisdom , and at times , the startling optimism , of the children . 
a rigorously structured and exquisitely filmed drama about a father and son connection that is a brief shooting star of love . 
this surreal gilliam-esque film is also a troubling interpretation of ecclesiastes . a rewarding work of art for only the most patient and challenge-hungry moviegoers . 
a quiet treasure -- a film to be savored . 
may be far from the best of the series , but it's assured , wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation . 
a compelling spanish film about the withering effects of jealousy in the life of a young monarch whose sexual passion for her husband becomes an obsession . 
huston nails both the glad-handing and the choking sense of hollow despair . 
may not have generated many sparks , but with his affection for astoria and its people he has given his tale a warm glow . 
a delirious celebration of the female orgasm . 
exquisitely nuanced in mood tics and dialogue , this chamber drama is superbly acted by the deeply appealing veteran bouquet and the chilling but quite human berling . 
it's fascinating to see how bettany and mcdowell play off each other . 
the film is beautifully mounted , but , more to the point , the issues are subtly presented , managing to walk a fine line with regard to the question of joan's madness . 
leigh's film is full of memorable performances from top to bottom . 
one of the most significant moviegoing pleasures of the year . 
jose campanella delivers a loosely autobiographical story brushed with sentimentality but brimming with gentle humor , bittersweet pathos , and lyric moments that linger like snapshots of memory . 
generally , clockstoppers will fulfill your wildest fantasies about being a different kind of time traveler , while happily killing 94 minutes . 
the movie is beautiful to behold and engages one in a sense of epic struggle -- inner and outer -- that's all too rare in hollywood's hastier productions . 
ao sair do cinema , eu estava feliz e com saudades de um tempo em que , para mim , a existência de papai noel era um fato inquestionável . 
neither parker nor donovan is a typical romantic lead , but they bring a fresh , quirky charm to the formula . 
it's a much more emotional journey than what shyamalan has given us in his past two movies , and gibson , stepping in for bruce willis , is the perfect actor to take us on the trip . 
not only are the special effects and narrative flow much improved , and daniel radcliffe more emotionally assertive this time around as harry , but the film conjures the magic of author j . k . rowling's books . 
jaglom . . . put[s] the audience in the privileged position of eavesdropping on his characters
beautifully observed , miraculously unsentimental comedy-drama . 
a must-see for the david mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking . 
crackerjack entertainment -- nonstop romance , music , suspense and action . 
the acting , costumes , music , cinematography and sound are all astounding given the production's austere locales . 
garcía bernal and talancón are an immensely appealing couple , and even though their story is predictable , you'll want things to work out . 
far more imaginative and ambitious than the trivial , cash-in features nickelodeon has made from its other animated tv series . 
the very definition of the 'small' movie , but it is a good stepping stone for director sprecher . 
a gripping , searing portrait of a lost soul trying to find her way through life . 
suffers from the lack of a compelling or comprehensible narrative . still , as a visual treat , the film is almost unsurpassed . 
so unassuming and pure of heart , you can't help but warmly extend your arms and yell 'safe ! '
an intriguing cinematic omnibus and round-robin that occasionally is more interesting in concept than in execution . 
so refreshingly incisive is grant that for the first time he'll probably appeal more to guys than to their girlfriends who drag them to this movie for the hugh factor . 
at a time when half the so-called real movies are little more than live-action cartoons , it's refreshing to see a cartoon that knows what it is , and knows the form's history . 
the magic of the film lies not in the mysterious spring but in the richness of its performances . 
hoffman notches in the nuances of pain , but his smart , edgy voice and waddling profile ( emphasized here ) accent the humor of wilson's plight , and that saves his pathos from drippiness . 
what better message than 'love thyself' could young women of any size receive ? 
the second coming of harry potter is a film far superior to its predecessor . a movie that successfully crushes a best selling novel into a timeframe that mandates that you avoid the godzilla sized soda . 
84 minutes of rolling musical back beat and supercharged cartoon warfare . it's also , clearly , great fun . 
 . . . takes the beauty of baseball and melds it with a story that could touch anyone regardless of their familiarity with the sport
seldahl's barbara is a precise and moving portrait of someone whose world is turned upside down , first by passion and then by illness . 
a warm but realistic meditation on friendship , family and affection . 
byler reveals his characters in a way that intrigues and even fascinates us , and he never reduces the situation to simple melodrama . 
turns potentially forgettable formula into something strangely diverting . 
bogdanovich tantalizes by offering a peep show into the lives of the era's creme de la celluloid . 
people cinema at its finest . 
the performances take the movie to a higher level . 
what really makes it special is that it pulls us into its world , gives us a hero whose suffering and triumphs we can share , surrounds him with interesting characters and sends us out of the theater feeling we've shared a great adventure . 
 . . . a spoof comedy that carries its share of laughs sometimes a chuckle , sometimes a guffaw and , to my great pleasure , the occasional belly laugh . 
manages to transcend the sex , drugs and show-tunes plot into something far richer . 
dense with characters and contains some thrilling moments . 
a true pleasure . 
lapaglia's ability to convey grief and hope works with weaver's sensitive reactions to make this a two-actor master class . 
reign of fire looks as if it was made without much thought -- and is best watched that way . 
altogether , this is successful as a film , while at the same time being a most touching reconsideration of the familiar masterpiece . 
we root for [clara and paul] , even like them , though perhaps it's an emotion closer to pity . 
the best film about baseball to hit theaters since field of dreams . 
instead of a hyperbolic beat-charged urban western , it's an unpretentious , sociologically pointed slice of life . 
the film tunes into a grief that could lead a man across centuries . 
if the count of monte cristo doesn't transform caviezel into a movie star , then the game is even more rigged than it was two centuries ago . 
[d]oesn't bother being as cloying or preachy as equivalent evangelical christian movies -- maybe the filmmakers know that the likely audience will already be among the faithful . 
as a tolerable diversion , the film suffices ; a triumph , however , it is not . 
if director michael dowse only superficially understands his characters , he doesn't hold them in contempt . 
if your taste runs to 'difficult' films you absolutely can't miss it . 
[city] reminds us how realistically nuanced a robert de niro performance can be when he is not more lucratively engaged in the shameless self-caricature of 'analyze this' ( 1999 ) and 'analyze that , ' promised ( or threatened ) for later this year . 
 . . . a story we haven't seen on the big screen before , and it's a story that we as americans , and human beings , should know . 
like leon , it's frustrating and still oddly likable . 
all in all , the count of monte cristo is okay , but it is surely no classic , like the novel upon which it is based . 
if you can stomach the rough content , it's worth checking out for the performances alone . 
looking aristocratic , luminous yet careworn in jane hamilton's exemplary costumes , rampling gives a performance that could not be improved upon . 
' . . . mafia , rap stars and hood rats butt their ugly heads in a regurgitation of cinematic violence that gives brutal birth to an unlikely , but likable , hero . '
on this tricky topic , tadpole is very much a step in the right direction , with its blend of frankness , civility and compassion . 
fun , flip and terribly hip bit of cinematic entertainment . 
montias . . . pumps a lot of energy into his nicely nuanced narrative and surrounds himself with a cast of quirky -- but not stereotyped -- street characters . 
falls neatly into the category of good stupid fun . 
the film's performances are thrilling . 
even in its most tedious scenes , russian ark is mesmerizing . 
the continued good chemistry between carmen and juni is what keeps this slightly disappointing sequel going , with enough amusing banter -- blessedly curse-free -- to keep both kids and parents entertained . 
reggio's continual visual barrage is absorbing as well as thought-provoking . 
unfortunately , it appears that [jackie] chan's us influence is starting to show in his hong kong films . 
it all adds up to good fun . 
a big , gorgeous , sprawling swashbuckler that delivers its diversions in grand , uncomplicated fashion . 
the wanton slipperiness of * corpus and its amiable jerking and reshaping of physical time and space would make it a great piece to watch with kids and use to introduce video as art . 
a stunning and overwhelmingly cogent case for kissinger as a calculating war criminal . 
sade is an engaging look at the controversial eponymous and fiercely atheistic hero . 
a quiet , pure , elliptical film
kinnear doesn't aim for our sympathy , but rather delivers a performance of striking skill and depth . 
the subtle strength of " elling " is that it never loses touch with the reality of the grim situation . 
a study in shades of gray , offering itself up in subtle plot maneuvers . . . 
the format gets used best . . . to capture the dizzying heights achieved by motocross and bmx riders , whose balletic hotdogging occasionally ends in bone-crushing screwups . 
has a lot of the virtues of eastwood at his best . 
chilling but uncommercial look into the mind of jeffrey dahmer , serial killer . 
though it's become almost redundant to say so , major kudos go to leigh for actually casting people who look working-class . 
it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons . 
a movie that reminds us of just how exciting and satisfying the fantasy cinema can be when it's approached with imagination and flair . 
thanks to scott's charismatic roger and eisenberg's sweet nephew , roger dodger is one of the most compelling variations on in the company of men . 
nine queens is not only than a frighteningly capable debut and genre piece , but also a snapshot of a dangerous political situation on the verge of coming to a head . 
it's the chemistry between the women and the droll scene-stealing wit and wolfish pessimism of anna chancellor that makes this " two weddings and a funeral " fun . 
will amuse and provoke adventurous adults in specialty venues . 
you don't have to know about music to appreciate the film's easygoing blend of comedy and romance . 
third time's the charm . . . yeah , baby ! 
a film about a young man finding god that is accessible and touching to the marrow . 
for the first time in years , de niro digs deep emotionally , perhaps because he's been stirred by the powerful work of his co-stars . 
the film's snags and stumblings are more than compensated for by its wryly subversive tone . 
inside the film's conflict-powered plot there is a decent moral trying to get out , but it's not that , it's the tension that keeps you in your seat . affleck and jackson are good sparring partners . 
the old-world- meets-new mesh is incarnated in the movie's soundtrack , a joyful effusion of disco bollywood that , by the end of monsoon wedding , sent my spirit soaring out of the theater . 
an effectively creepy , fear-inducing ( not fear-reducing ) film from japanese director hideo nakata , who takes the superstitious curse on chain letters and actually applies it . 
having had the good sense to cast actors who are , generally speaking , adored by the movie-going public , khouri then gets terrific performances from them all . 
a subtle and well-crafted ( for the most part ) chiller . 
warm water under a red bridge is a quirky and poignant japanese film that explores the fascinating connections between women , water , nature , and sexuality . 
although laced with humor and a few fanciful touches , the film is a refreshingly serious look at young women . 
the best revenge may just be living well because this film , unlike other dumas adaptations , is far more likened to a treasure than a lengthy jail sentence . 
a delectable and intriguing thriller filled with surprises , read my lips is an original . this is a story of two misfits who don't stand a chance alone , but together they are magnificent . 
highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up . 
one of creepiest , scariest movies to come along in a long , long time , easily rivaling blair witch or the others . 
maud and roland's search for an unknowable past makes for a haunting literary detective story , but labute pulls off a neater trick in possession : he makes language sexy . 
pacino is brilliant as the sleep-deprived dormer , his increasing weariness as much existential as it is physical . 
rare birds has more than enough charm to make it memorable . 
manages to be sweet and wickedly satisfying at the same time . 
this nickleby thing might have more homosexual undertones than an eddie murphy film . and just when you think it can't get any more gay , in pops nathan lane . 
no sophomore slump for director sam mendes , who segues from oscar winner to oscar-winning potential with a smooth sleight of hand . 
the movie isn't just hilarious : it's witty and inventive , too , and in hindsight , it isn't even all that dumb . 
old-form moviemaking at its best . 
ahhhh . . . revenge is sweet ! 
yakusho and shimizu . . . create engaging characterizations in imamura's lively and enjoyable cultural mix . 
you will emerge with a clearer view of how the gears of justice grind on and the death report comes to share airtime alongside the farm report . 
ruzowitzky has taken this mothball-y stuff and made a rather sturdy , old-fashioned entertainment out of it . 
in spite of good housekeeping's unsavory characters and wwf mentality , this white trash war of the roses is a surprisingly engaging film . 
collateral damage finally delivers the goods for schwarzenegger fans . 
there has always been something likable about the marquis de sade . 
as a first-time director , paxton has tapped something in himself as an actor that provides frailty with its dark soul . 
for the most part , director anne-sophie birot's first feature is a sensitive , extraordinarily well-acted drama . 
by the time we learn that andrew's turnabout is fair play is every bit as awful as borchardt's coven , we can enjoy it anyway . 
this riveting world war ii moral suspense story deals with the shadow side of american culture : racial prejudice in its ugly and diverse forms . 
a tender , heartfelt family drama . 
a difficult , absorbing film that manages to convey more substance despite its repetitions and inconsistencies than do most films than are far more pointed and clear . 
for the most part , it's a work of incendiary genius , steering clear of knee-jerk reactions and quick solutions . 
it has the charm of the original american road movies , feasting on the gorgeous , ramshackle landscape of the filmmaker's motherland . 
[chaiken's] talent lies in an evocative , accurate observation of a distinctive milieu and in the lively , convincing dialogue she creates for her characters . 
in all , this is a watchable movie that's not quite the memorable experience it might have been . 
huppert's superbly controlled display of murderous vulnerability ensures that malice has a very human face . 
my thoughts were focused on the characters . that is a compliment to kuras and miller . if i had been thinking about the visual medium , they would have been doing something wrong . 
one of the more intelligent children's movies to hit theaters this year . 
remember the kind of movie we were hoping " ecks vs . sever " or " xxx " was going to be ? this is it . 
not for the prurient or squeamish , it's a daring if overlong examination of an idolized culture , self-loathing and sexual politics . 
a cartoon that's truly cinematic in scope , and a story that's compelling and heartfelt -- even if the heart belongs to a big , four-legged herbivore . 
the film's almost unbearable portrait of sadness and grief transcends its specific story to speak to the ways in which need , history and presumption tangle , and sometimes destroy , blood ties . 
travels a fascinating arc from hope and euphoria to reality and disillusionment . 
polished , well-structured film . 
there's something auspicious , and daring , too , about the artistic instinct that pushes a majority-oriented director like steven spielberg to follow a . i . with this challenging report so liable to unnerve the majority . 
for anyone unfamiliar with pentacostal practices in general and theatrical phenomenon of hell houses in particular , it's an eye-opener . 
it seems like i have been waiting my whole life for this movie and now i can't wait for the sequel . 
it's a bit disappointing that it only manages to be decent instead of dead brilliant . 
apesar de seus graves problemas , o filme consegue entreter . 
an operatic , sprawling picture that's entertainingly acted , magnificently shot and gripping enough to sustain most of its 170-minute length . 
the far future may be awesome to consider , but from period detail to matters of the heart , this film is most transporting when it stays put in the past . 
it inspires a continuing and deeply satisfying awareness of the best movies as monumental 'picture shows . '
awesome creatures , breathtaking scenery , and epic battle scenes add up to another 'spectacular spectacle . '
by candidly detailing the politics involved in the creation of an extraordinary piece of music , [jones] calls our attention to the inherent conflict between commerce and creativity . 
it's unnerving to see recoing's bizzarre reaction to his unemployment . good film , but very glum . 
much as we might be interested in gratuitous sexualization , haneke has a different objective in mind--namely the implications of our craving for fake stimulation . 
dazzling in its complexity , disturbing for its extraordinary themes , the piano teacher is a film that defies categorisation . it haunts , horrifies , startles and fascinates ; it is impossible to look away . ah yes , and then there's the music . . . 
it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience . 
although jackson is doubtless reserving the darkest hours for the return of the king , we long for a greater sense of urgency in the here and now of the two towers . 
it is great summer fun to watch arnold and his buddy gerald bounce off a quirky cast of characters . 
bleakly funny , its characters all the more touching for refusing to pity or memorialize themselves . 
it will not appeal to the impatient , but those who like long books and movies will admire the way it accumulates power and depth . 
this flick is about as cool and crowd-pleasing as a documentary can get . 
 " the ring " is pretty much an english-language copy of the film that inspired it , and it carries the same strengths and flaws . 
the wild thornberrys movie is a jolly surprise . 
griffiths proves she's that rare luminary who continually raises the standard of her profession . 
prancing his way through the tailor-made part of a male hooker approaching the end of his vitality , jagger obviously relishes every self-mocking moment . 
sexy and romantic . 
offers much to enjoy . . . and a lot to mull over in terms of love , loyalty and the nature of staying friends . 
an important movie , a reminder of the power of film to move us and to make us examine our values . 
is this love or is it masochism ? binoche makes it interesting trying to find out . 
a pleasant , if forgettable , romp of a film . 
the mesmerizing performances of the leads keep the film grounded and keep the audience riveted . 
worth watching for dong jie's performance -- and for the way it documents a culture in the throes of rapid change . 
two hours fly by -- opera's a pleasure when you don't have to endure intermissions -- and even a novice to the form comes away exhilarated . 
it's one heck of a character study -- not of hearst or davies but of the unique relationship between them . 
candid camera on methamphetamines . 
a subject like this should inspire reaction in its audience ; the pianist does not . 
equilibrium is what george orwell might have imagined had today's mood-altering drug therapy been envisioned by chemists in 1949 . 
creepy , authentic and dark . this disturbing bio-pic is hard to forget . 
martin and barbara are complex characters -- sometimes tender , sometimes angry -- and the delicate performances by sven wollter and viveka seldahl make their hopes and frustrations vivid . 
a twisty , moody slice of southern gothic . . . 
it's so good that you can practically see the hollywood 'suits' trying to put together the cast and filmmaking team for the all-too -inevitable american remake . 
the weight of the piece , the unerring professionalism of the chilly production , and the fascination embedded in the lurid topic prove recommendation enough . 
an absurdist comedy about alienation , separation and loss . 
'they' begins and ends with scenes so terrifying i'm still stunned . and i've decided to leave a light on every night from now on . 
this tenth feature is a big deal , indeed -- at least the third-best , and maybe even a notch above the previous runner-up , nicholas meyer's star trek vi : the undiscovered country . 
 . . . with " the bourne identity " we return to the more traditional action genre . 
beneath clouds is a succinct low-budget film whose compelling characters and intelligent script are exactly what was missing from rabbit-proof fence . 
the film is a contrivance , as artificial as the video games japanese teens play in a nightclub sequence , but it's an enjoyable one . 
holm . . . embodies the character with an effortlessly regal charisma . 
it is amusing , and that's all it needs to be . 
among the year's most intriguing explorations of alientation . 
a full world has been presented onscreen , not some series of carefully structured plot points building to a pat resolution . 
seldom has a movie so closely matched the spirit of a man and his work . 
audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she's as morning-glory exuberant as she was in amélie . 
the movie has an infectious exuberance that will engage anyone with a passing interest in the skate/surf culture , the l . a . beach scene and the imaginative ( and sometimes illegal ) ways kids can make a playground out of the refuse of adults . 
even if you don't think [kissinger's] any more guilty of criminal activity than most contemporary statesmen , he'd sure make a courtroom trial great fun to watch . 
the story and structure are well-honed . fresnadillo's dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that won't go away . 
it's made with deftly unsettling genre flair . 
it just may inspire a few younger moviegoers to read stevenson's book , which is a treasure in and of itself . 
funny but perilously slight . 
overall very good for what it's trying to do . 
forgettable horror -- more gory than psychological -- with a highly satisfying quotient of friday-night excitement and milla power . 
ramsay , as in ratcatcher , remains a filmmaker with an acid viewpoint and a real gift for teasing chilly poetry out of lives and settings that might otherwise seem drab and sordid . 
it may seem long at 110 minutes if you're not a fan , because it includes segments of 12 songs at a reunion concert . 
a lean , deftly shot , well-acted , weirdly retro thriller that recalls a raft of '60s and '70s european-set spy pictures . 
it proves quite compelling as an intense , brooding character study . 
the son's room is a triumph of gentility that earns its moments of pathos . 
morton uses her face and her body language to bring us morvern's soul , even though the character is almost completely deadpan . 
the film may appear naked in its narrative form . . . but it goes deeper than that , to fundamental choices that include the complexity of the catholic doctrine
a superbly acted and funny/gritty fable of the humanizing of one woman at the hands of the unseen forces of fate . 
one of the smartest takes on singles culture i've seen in a long time . 
there is a fabric of complex ideas here , and feelings that profoundly deepen them . 
cq's reflection of artists and the love of cinema-and-self suggests nothing less than a new voice that deserves to be considered as a possible successor to the best european directors . 
the emotions are raw and will strike a nerve with anyone who's ever had family trauma . 
holy mad maniac in a mask , splat-man ! good old-fashioned slash-and-hack is back ! 
as unseemly as its title suggests . 
by the end of the movie , you're definitely convinced that these women are spectacular . 
the french are rather good at this kind of thing , unlike the americans , who have a passion for musketeers , only to spoof them . 
the fly-on-the-wall method used to document rural french school life is a refreshing departure from the now more prevalent technique of the docu-makers being a visible part of their work . 
it's an offbeat treat that pokes fun at the democratic exercise while also examining its significance for those who take part . 
allows us to hope that nolan is poised to embark a major career as a commercial yet inventive filmmaker . 
maneuvers skillfully through the plot's hot brine -- until it's undone by the sogginess of its contemporary characters , and actors . 
it has the ability to offend and put off everyone , but it holds you with its outrageousness . 
anchored by friel and williams's exceptional performances , the film's power lies in its complexity . nothing is black and white . 
it's a charming and often affecting journey . 
psychologically savvy . 
no screen fantasy-adventure in recent memory has the showmanship of clones' last 45 minutes . 
a poignant and compelling story about relationships , food of love takes us on a bumpy but satisfying journey of the heart . 
birot creates a drama with such a well-defined sense of place and age -- as in , 15 years old -- that the torments and angst become almost as operatic to us as they are to her characters . 
the chateau cleverly probes the cross-cultural differences between gauls and yanks . 
not since tom cruise in risky business has an actor made such a strong impression in his underwear . 
aside from minor tinkering , this is the same movie you probably loved in 1994 , except that it looks even better . 
uses high comedy to evoke surprising poignance . 
it confirms fincher's status as a film maker who artfully bends technical know-how to the service of psychological insight . 
vera's three actors -- mollà , gil and bardem -- excel in insightful , empathetic performances . 
a marvel like none you've seen . 
with tightly organized efficiency , numerous flashbacks and a constant edge of tension , miller's film is one of 2002's involvingly adult surprises . 
mr . tsai is a very original artist in his medium , and what time is it there ? should be seen at the very least for its spasms of absurdist humor . 
writer/director mark romanek spotlights the underlying caste system in america . it's a scathing portrayal . 
this is a good script , good dialogue , funny even for adults . the characters are interesting and often very creatively constructed from figure to backstory . the film will play equally well on both the standard and giant screens . 
moody , heartbreaking , and filmed in a natural , unforced style that makes its characters seem entirely convincing even when its script is not . 
not a film to rival to live , but a fine little amuse-bouche to keep your appetite whetted . 
true tale of courage -- and complicity -- at auschwitz is a harrowing drama that tries to tell of the unspeakable . 
gives you the steady pulse of life in a beautiful city viewed through the eyes of a character who , in spite of tragic loss and increasing decrepitude , knows in his bones that he is one of the luckiest men alive . 
macdowell , whose wifty southern charm has anchored lighter affairs . . . brings an absolutely riveting conviction to her role . 
what time is it there ? is not easy . it haunts you , you can't forget it , you admire its conception and are able to resolve some of the confusions you had while watching it . 
if you are an actor who can relate to the search for inner peace by dramatically depicting the lives of others onstage , then esther's story is a compelling quest for truth . 
although the level of the comedy declines as the movie proceeds , there's no denying the fun of watching de niro and crystal having fun . 
claude chabrol has here a thriller without thrills , but that's okay . 
for movie lovers as well as opera lovers , tosca is a real treat . 
unflinchingly bleak and desperate
moretti's compelling anatomy of grief and the difficult process of adapting to loss . 
challenging , intermittently engrossing and unflaggingly creative . but it's too long and too convoluted and it ends in a muddle . 
the vivid lead performances sustain interest and empathy , but the journey is far more interesting than the final destination . 
a painfully funny ode to bad behavior . 
'easily my choice for one of the year's best films . '
charles' entertaining film chronicles seinfeld's return to stand-up comedy after the wrap of his legendary sitcom , alongside wannabe comic adams' attempts to get his shot at the big time . 
that dogged good will of the parents and 'vain' jia's defoliation of ego , make the film touching despite some doldrums . 
the movie is for fans who can't stop loving anime , and the fanatical excess built into it . 
the volatile dynamics of female friendship is the subject of this unhurried , low-key film that is so off-hollywood that it seems positively french in its rhythms and resonance . 
a densely constructed , highly referential film , and an audacious return to form that can comfortably sit among jean-luc godard's finest work . 
michael gerbosi's script is economically packed with telling scenes . 
a strangely compelling and brilliantly acted psychological drama . 
candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work . 
open-minded kids -- kids who read , kids who dream -- will be comforted by the way it deals with big issues like death and destiny . 
bennett's naturalistic performance speaks volumes more truth than any 'reality' show , and anybody contemplating their own drastic life changes should watch some body first . 
 . . . a good , if not entirely fresh , look at war . 
 the film is powerful , accessible and funny . you won't miss its messages , but you'll be entertained as well . 
'frailty " starts out like a typical bible killer story , but it turns out to be significantly different ( and better ) than most films with this theme . 
if you dig on david mamet's mind tricks . . . rent this movie and enjoy ! 
the primitive force of this film seems to bubble up from the vast collective memory of the combatants . it's like watching a nightmare made flesh . 
it is the sheer , selfish , wound-licking , bar-scrapping doggedness of leon's struggle to face and transmute his demons that makes the movie a spirited and touching occasion , despite its patchy construction . 
a gorgeous , high-spirited musical from india that exquisitely blends music , dance , song , and high drama . 
it's hard to imagine alan arkin being better than he is in this performance . 
for those who pride themselves on sophisticated , discerning taste , this might not seem like the proper cup of tea , however it is almost guaranteed that even the stuffiest cinema goers will laugh their * * * off for an hour-and-a-half . 
despite the 2-d animation , the wild thornberrys movie makes for a surprisingly cinematic experience . 
 . . . a fun little timewaster , helped especially by the cool presence of jean reno . 
[majidi] makes us think twice about immigrants we see around us every day . 
though only 60 minutes long , the film is packed with information and impressions . 
i have no way of knowing exactly how much is exaggeration , but i've got a creepy feeling that the film is closer to the mark than i want to believe . 
immersing us in the endlessly inventive , fiercely competitive world of hip-hop djs , the project is sensational and revelatory , even if scratching makes you itch . 
further proof that the epicenter of cool , beautiful , thought-provoking foreign cinema is smack-dab in the middle of dubya's axis of evil . 
there's really only one good idea in this movie , but the director runs with it and presents it with an unforgettable visual panache . 
a simple , but gritty and well-acted ensemble drama that encompasses a potent metaphor for a country still dealing with its fascist past . 
lovely and poignant . puts a human face on a land most westerners are unfamiliar with . 
i can't say that i liked homeboy ; it'd be more accurate to say that i found it intriguing , bizarre , dogma-like in spots - and quite truthful , in its way . 
displaying about equal amounts of naiveté , passion and talent , beneath clouds establishes sen as a filmmaker of considerable potential . 
the vitality of the actors keeps the intensity of the film high , even as the strafings blend together . 
not since japanese filmmaker akira kurosawa's ran have the savagery of combat and the specter of death been visualized with such operatic grandeur . 
we learn a lot about dying coral and see a lot of life on the reef . 
if the first men in black was money , the second is small change . but it still jingles in the pocket . it's fun lite . 
passable entertainment , but it's the kind of motion picture that won't make much of a splash when it's released , and will not be remembered long afterwards . 
i just loved every minute of this film . 
this is a winning ensemble comedy that shows canadians can put gentle laughs and equally gentle sentiments on the button , just as easily as their counterparts anywhere else in the world . 
just as moving , uplifting and funny as ever . 
my wife is an actress is an utterly charming french comedy that feels so american in sensibility and style it's virtually its own hollywood remake . 
it will grip even viewers who aren't interested in rap , as it cuts to the heart of american society in an unnerving way . 
a muckraking job , the cinematic equivalent of a legal indictment , and a fairly effective one at that . 
a tender , witty , captivating film about friendship , love , memory , trust and loyalty . 
belongs to daniel day-lewis as much as it belongs to martin scorsese ; it's a memorable performance in a big , brassy , disturbing , unusual and highly successful film . 
an exhilarating futuristic thriller-noir , minority report twists the best of technology around a gripping story , delivering a riveting , pulse intensifying escapist adventure of the first order
a psychological thriller with a genuinely spooky premise and an above-average cast , actor bill paxton's directing debut is a creepy slice of gothic rural americana . 
while locals will get a kick out of spotting cleveland sites , the rest of the world will enjoy a fast-paced comedy with quirks that might make the award-winning coen brothers envious . 
pumpkin takes an admirable look at the hypocrisy of political correctness , but it does so with such an uneven tone that you never know when humor ends and tragedy begins . 
if you're hard up for raunchy college humor , this is your ticket right here . 
few films capture so perfectly the hopes and dreams of little boys on baseball fields as well as the grown men who sit in the stands . 
corny , schmaltzy and predictable , but still manages to be kind of heartwarming , nonetheless . it's the perfect kind of film to see when you don't want to use your brain . at all . 
while it regards 1967 as the key turning point of the 20th century , and returns again and again to images of dissidents in the streets , it's alarmingly current . 
feature debuter d . j . caruso directs a crack ensemble cast , bringing screenwriter tony gayton's narcotics noir to life . 
every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency . 
harris commands the screen , using his frailty to suggest the ravages of a life of corruption and ruthlessness . 
stephen rea , aidan quinn , and alan bates play desmond's legal eagles , and when joined by brosnan , the sight of this grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , 'tis . 
director of photography benoit delhomme shot the movie in delicious colors , and the costumes and sets are grand . 
the movie's relatively simple plot and uncomplicated morality play well with the affable cast . 
the film is quiet , threatening and unforgettable . 
this illuminating documentary transcends our preconceived vision of the holy land and its inhabitants , revealing the human complexities beneath . 
deliriously funny , fast and loose , accessible to the uninitiated , and full of surprises
trademark american triteness and simplicity are tossed out the window with the intelligent french drama that deftly explores the difficult relationship between a father and son . 
one from the heart . 
more concerned with sade's ideas than with his actions . the movie achieves as great an impact by keeping these thoughts hidden as . . . [quills] did by showing them . 
an entertaining , colorful , action-filled crime story with an intimate heart . 
while undisputed isn't exactly a high , it is a gripping , tidy little movie that takes mr . hill higher than he's been in a while . 
the most compelling wiseman epic of recent years . 
the socio-histo-political treatise is told in earnest strides . . . [and] personal illusion is deconstructed with poignancy . 
it's great escapist fun that recreates a place and time that will never happen again . 
good car chases , great fight scenes , and a distinctive blend of european , american and asian influences . 
liotta put on 30 pounds for the role , and has completely transformed himself from his smooth , goodfellas image . 
a woman's pic directed with resonance by ilya chaiken . 
contando com uma premissa curiosa , o filme mergulha o espectador em um clima de forte suspense , culminando em um desfecho que certamente fica na memória . 
[grant's] bumbling magic takes over the film , and it turns out to be another winning star vehicle . 
 . . . brian de palma is utterly mad : cinema mad , set-piece mad , style mad . it's a beautiful madness . 
generally provides its target audience of youngsters enough stimulating eye and ear candy to make its moral medicine go down . 
there are some wonderfully fresh moments that smooth the moral stiffness with human kindness and hopefulness . 
a grimly competent and stolid and earnest military courtroom drama . 
escaping the studio , piccoli is warmly affecting and so is this adroitly minimalist movie . 
very psychoanalytical -- provocatively so -- and also refreshingly literary . 
a gorgeous , witty , seductive movie . 
the special effects and many scenes of weightlessness look as good or better than in the original , while the oscar-winning sound and james horner's rousing score make good use of the hefty audio system . 
on the heels of the ring comes a similarly morose and humorless horror movie that , although flawed , is to be commended for its straight-ahead approach to creepiness . 
with rabbit-proof fence , noyce has tailored an epic tale into a lean , economical movie . 
[a]n utterly charming and hilarious film that reminded me of the best of the disney comedies from the 60s . 
preaches to two completely different choirs at the same time , which is a pretty amazing accomplishment . 
thanks to haynes' absolute control of the film's mood , and buoyed by three terrific performances , far from heaven actually pulls off this stylistic juggling act . 
birthday girl is an amusing joy ride , with some surprisingly violent moments . 
more romantic , more emotional and ultimately more satisfying than the teary-eyed original . 
an appealingly juvenile trifle that delivers its share of laughs and smiles . 
writer-director's mehta's effort has tons of charm and the whimsy is in the mixture , the intoxicating masala , of cultures and film genres . 
the draw [for " big bad love " ] is a solid performance by arliss howard . 
it gets onto the screen just about as much of the novella as one could reasonably expect , and is engrossing and moving in its own right . 
the terrific and bewilderingly underrated campbell scott gives a star performance that is nothing short of mesmerizing . 
cool ? this movie is a snow emergency . 
like mike isn't interested in recycling old cliches . it wants to tweak them with a taste of tangy new humor . 
smith is careful not to make fun of these curious owners of architectural oddities . instead , he shows them the respect they are due . 
a mess when it comes to the characters and writing . . . but works its way underneath the skin like few movies have in recent memory . 
drops you into a dizzying , volatile , pressure-cooker of a situation that quickly snowballs out of control , while focusing on the what much more than the why . 
zhang . . . has done an amazing job of getting realistic performances from his mainly nonprofessional cast . 
a solid examination of the male midlife crisis . 
if you're in the mood for a bollywood film , here's one for you . 
as the two leads , lathan and diggs are charming and have chemistry both as friends and lovers . 
a beguiling , slow-moving parable about the collision of past and present on a remote seacoast in iran . 
my big fat greek wedding uses stereotypes in a delightful blend of sweet romance and lovingly dished out humor . 
kept aloft largely by a comically adept ensemble . 
the sort of film that makes me miss hitchcock , but also feel optimistic that there's hope for popular cinema yet . 
first-time writer-director serry shows a remarkable gift for storytelling with this moving , effective little film . 
it cuts to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl , and to ride the big metaphorical wave that is life -- wherever it takes you . 
atom egoyan has conjured up a multilayered work that tackles any number of fascinating issues
essentially an exceptionally well-written , well-edited , well-directed , well-acted , bald rip-off of aliens . 
'de niro . . . is a veritable source of sincere passion that this hollywood contrivance orbits around . '
the whole is quite entertaining , but despite its virtues , there is an unsettled feeling to the film . 
while its careful pace and seemingly opaque story may not satisfy every moviegoer's appetite , the film's final scene is soaringly , transparently moving . 
hardly a masterpiece , but it introduces viewers to a good charitable enterprise and some interesting real people . 
based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters
it's somewhat clumsy and too lethargically paced -- but its story about a mysterious creature with psychic abilities offers a solid build-up , a terrific climax , and some nice chills along the way . 
if you've ever wondered what an ending without the input of studio executives or test audiences would look like , here it is . 
exciting and direct , with ghost imagery that shows just enough to keep us on our toes . 
whether writer-director anne fontaine's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting . 
what the film lacks in general focus it makes up for in compassion , as corcuera manages to find the seeds of hope in the form of collective action . 
if you enjoy more thoughtful comedies with interesting conflicted characters ; this one is for you . 
the quality of the art combined with the humor and intelligence of the script allow the filmmakers to present the biblical message of forgiveness without it ever becoming preachy or syrupy . 
this film seems thirsty for reflection , itself taking on adolescent qualities . 
another one of those estrogen overdose movies like " divine secrets of the ya ya sisterhood , " except that the writing , acting and character development are a lot better . 
a breezy romantic comedy that has the punch of a good sitcom , while offering exceptionally well-detailed characters . 
a romantic comedy enriched by a sharp eye for manners and mores . 
viewers of " the ring " are more likely to remember the haunting images than the plot holes . 
a delightful coming-of-age story . 
one of those energetic surprises , an original that pleases almost everyone who sees it . 
an exquisitely crafted and acted tale . 
a taut psychological thriller that doesn't waste a moment of its two-hour running time . 
jones . . . does offer a brutal form of charisma . 
despite its title , punch-drunk love is never heavy-handed . the jabs it employs are short , carefully placed and dead-center . 
there's a wickedly subversive bent to the best parts of birthday girl . 
likely to expertly drum up repressed teenage memories in any viewer . 
blanchett's performance confirms her power once again . 
 . . . a magnificent drama well worth tracking down . 
a good piece of work more often than not . 
the movie understands like few others how the depth and breadth of emotional intimacy give the physical act all of its meaning and most of its pleasure . 
what distinguishes time of favor from countless other thrillers is its underlying concern with the consequences of words and with the complicated emotions fueling terrorist acts . 
smart , provocative and blisteringly funny . 
nothing is sacred in this gut-buster . 
the movie occasionally threatens to become didactic , but it's too grounded in the reality of its characters to go over the edge . a touch of humor or an unexpected plot twist always pulls it back . 
filmmakers who can deftly change moods are treasures and even marvels . so , too , is this comedy about mild culture clashing in today's new delhi . 
if steven soderbergh's 'solaris' is a failure it is a glorious failure . 
 " mostly martha " is a bright , light modern day family parable that wears its heart on its sleeve for all to see . 
it's a scattershot affair , but when it hits its mark it's brilliant . 
a pleasant enough romance with intellectual underpinnings , the kind of movie that entertains even as it turns maddeningly predictable . 
featuring a dangerously seductive performance from the great daniel auteuil , " sade " covers the same period as kaufmann's " quills " with more unsettlingly realistic results . 
a spellbinding african film about the modern condition of rootlessness , a state experienced by millions around the globe . 
it's a work by an artist so in control of both his medium and his message that he can improvise like a jazzman . 
a moody , multi-dimensional love story and sci-fi mystery , solaris is a thought-provoking , haunting film that allows the seeds of the imagination to germinate . 
a very well-made , funny and entertaining picture . 
a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn . 
its maker , steven spielberg , hasn't had so much fun in two decades , since he was schlepping indiana jones around the globe in search of a giant misplaced ashtray . 
oscar wilde's masterpiece , the importance of being earnest , may be the best play of the 19th century . it's so good that its relentless , polished wit can withstand not only inept school productions , but even oliver parker's movie adaptation . 
the movie does a good job of laying out some of the major issues that we encounter as we journey through life . 
brilliantly explores the conflict between following one's heart and following the demands of tradition . 
this remake gets all there is to get out of a peculiar premise with promise : al pacino loathing robin williams . 
the next generation of mob movie . part low rent godfather . part three stooges . 
lan yu is at times too restrained , yet there are moments it captures the erotics of intimacy in a way that makes most american love stories look downright unfree . 
a thinly veiled look at different aspects of chinese life clashing with each other . 
light years/ several warp speeds/ levels and levels of dilithium crystals better than the pitiful insurrection . which isn't to say that it's the equal of some of its predecessors . 
delightfully rendered
if this story must be told and retold -- and indeed it must -- then the grey zone is to be lauded for finding a new and ingenious angle . 
the lion king was a roaring success when it was released eight years ago , but on imax it seems better , not just bigger . 
a gripping movie , played with performances that are all understated and touching . 
the piece plays as well as it does thanks in large measure to anspaugh's three lead actresses . 
the inspirational screenplay by mike rich covers a lot of ground , perhaps too much , but ties things together , neatly , by the end . 
not the kind of film that will appeal to a mainstream american audience , but there is a certain charm about the film that makes it a suitable entry into the fest circuit . 
director andrew niccol . . . demonstrates a wry understanding of the quirks of fame . his healthy sense of satire is light and fun . . . . 
about a manga-like heroine who fights back at her abusers , it's energetic and satisfying if not deep and psychological . 
this is human comedy at its most amusing , interesting and confirming . 
an artful , intelligent film that stays within the confines of a well-established genre . 
majidi is an unconventional storyteller , capable of finding beauty in the most depressing places . 
richard gere and diane lane put in fine performances as does french actor oliver martinez . 
the minor figures surrounding [bobby] . . . form a gritty urban mosaic . 
this is wild surreal stuff , but brilliant and the camera just kind of sits there and lets you look at this and its like you're going from one room to the next and none of them have any relation to the other . 
it's a demented kitsch mess ( although the smeary digital video does match the muddled narrative ) , but it's savvy about celebrity and has more guts and energy than much of what will open this year . 
there is nothing outstanding about this film , but it is good enough and will likely be appreciated most by sailors and folks who know their way around a submarine . 
all-in-all , the film is an enjoyable and frankly told tale of a people who live among us , but not necessarily with us . 
an interesting story with a pertinent ( cinematically unique ) message , told fairly well and scored to perfection , i found myself struggling to put my finger on that elusive " missing thing . " 
a movie with a real anarchic flair . 
a welcome relief from baseball movies that try too hard to be mythic , this one is a sweet and modest and ultimately winning story . 
a crisp psychological drama [and] a fascinating little thriller that would have been perfect for an old " twilight zone " episode . 
it has more than a few moments that are insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing . 
opening with some contrived banter , cliches and some loose ends , the screenplay only comes into its own in the second half . 
an uncluttered , resonant gem that relays its universal points without lectures or confrontations . 
'[the cockettes] provides a window into a subculture hell-bent on expressing itself in every way imaginable . '
a smart , steamy mix of road movie , coming-of-age story and political satire . 
the modern-day royals have nothing on these guys when it comes to scandals . it's only in fairy tales that princesses that are married for political reason live happily ever after . 
a terrific b movie -- in fact , the best in recent memory . 
 " birthday girl " is an actor's movie first and foremost . 
i walked away from this new version of e . t . just as i hoped i would -- with moist eyes . 
for devotees of french cinema , safe conduct is so rich with period minutiae it's like dying and going to celluloid heaven . 
what's really so appealing about the characters is their resemblance to everyday children . 
shamelessly resorting to pee-related sight gags that might even cause tom green a grimace ; still , myer's energy and the silliness of it all eventually prevail
an absurdist spider web . 
if you're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you , then you're at the right film . 
this version moves beyond the original's nostalgia for the communal film experiences of yesteryear to a deeper realization of cinema's inability to stand in for true , lived experience . 
some movies blend together as they become distant memories . mention " solaris " five years from now and i'm sure those who saw it will have an opinion to share . 
allen's funniest and most likeable movie in years . 
it's a glorious spectacle like those d . w . griffith made in the early days of silent film . 
this comic gem is as delightful as it is derivative . 
more timely than its director could ever have dreamed , this quietly lyrical tale probes the ambiguous welcome extended by iran to the afghani refugees who streamed across its borders , desperate for work and food . 
the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions , shows all the signs of rich detail condensed into a few evocative images and striking character traits . 
with three excellent principal singers , a youthful and good-looking diva and tenor and richly handsome locations , it's enough to make you wish jacquot had left well enough alone and just filmed the opera without all these distortions of perspective . 
the production has been made with an enormous amount of affection , so we believe these characters love each other . 
certainly the performances are worthwhile . 
'no es la mejor cinta de la serie , ni la mejor con brosnan a la cabeza , pero de que entretiene ni duda cabe . '
winds up being both revelatory and narcissistic , achieving some honest insight into relationships that most high-concept films candy-coat with pat storylines , precious circumstances and beautiful stars . 
watching these eccentrics is both inspiring and pure joy . 
steven spielberg brings us another masterpiece
finally , the french-produced " read my lips " is a movie that understands characters must come first . 
ms . seigner and mr . serrault bring fresh , unforced naturalism to their characters . 
allen shows he can outgag any of those young whippersnappers making moving pictures today . 
a good film with a solid pedigree both in front of and , more specifically , behind the camera . 
by no means a slam-dunk and sure to ultimately disappoint the action fans who will be moved to the edge of their seats by the dynamic first act , it still comes off as a touching , transcendent love story . 
i encourage young and old alike to go see this unique and entertaining twist on the classic whale's tale -- you won't be sorry ! 
a literary detective story is still a detective story and aficionados of the whodunit won't be disappointed . 
high crimes steals so freely from other movies and combines enough disparate types of films that it can't help but engage an audience . 
if you're a fan of the series you'll love it and probably want to see it twice . i will be . 
it celebrates the group's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his 'angels of light . '
the story . . . is inspiring , ironic , and revelatory of just how ridiculous and money-oriented the record industry really is . it is also a testament to the integrity and vision of the band . 
laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid performances , no such thing is a fascinating little tale . 
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 . 
nair doesn't treat the issues lightly . she allows each character to confront their problems openly and honestly . 
one of the best silly horror movies of recent memory , with some real shocks in store for unwary viewers . 
the work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them . strange occurrences build in the mind of the viewer and take on extreme urgency . 
has a certain ghoulish fascination , and generates a fair amount of b-movie excitement . 
familiar but utterly delightful . 
a fascinating , dark thriller that keeps you hooked on the delicious pulpiness of its lurid fiction . 
the film aims to be funny , uplifting and moving , sometimes all at once . the extent to which it succeeds is impressive . 
the film brilliantly shines on all the characters , as the direction is intelligently accomplished . 
while not for every taste , this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy . 
as broad and cartoonish as the screenplay is , there is an accuracy of observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism . 
in addition to hoffman's powerful acting clinic , this is that rare drama that offers a thoughtful and rewarding glimpse into the sort of heartache everyone has felt , or will feel someday . 
jeffrey tambor's performance as the intelligent jazz-playing exterminator is oscar-worthy . 
from the opening strains of the average white band's " pick up the pieces " , you can feel the love . 
stevens' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls . 
that it'll probably be the best and most mature comedy of the 2002 summer season speaks more of the season than the picture
old people will love this movie , and i mean that in the nicest possible way : last orders will touch the heart of anyone old enough to have earned a 50-year friendship . 
meyjes' provocative film might be called an example of the haphazardness of evil . 
tian emphasizes the isolation of these characters by confining color to liyan's backyard . 
the movie is pretty funny now and then without in any way demeaning its subjects . 
imagine a scenario where bergman approaches swedish fatalism using gary larson's far side humor
too damn weird to pass up , and for the blacklight crowd , way cheaper ( and better ) than pink floyd tickets . 
it is most remarkable not because of its epic scope , but because of the startling intimacy it achieves despite that breadth . 
it's not a great monster movie . but if you've paid a matinee price and bought a big tub of popcorn , there's guilty fun to be had here . chomp chomp ! 
the grey zone gives voice to a story that needs to be heard in the sea of holocaust movies . . . but the film suffers from its own difficulties . 
fun and nimble . 
others , more attuned to the anarchist maxim that 'the urge to destroy is also a creative urge' , or more willing to see with their own eyes , will find morrison's iconoclastic uses of technology to be liberating . 
miller tells this very compelling tale with little fuss or noise , expertly plucking tension from quiet . 
time out is existential drama without any of the pretension associated with the term . 
it's a sweet , laugh-a-minute crowd pleaser that lifts your spirits as well as the corners of your mouth . 
writer/director alexander payne ( election ) and his co-writer jim taylor brilliantly employ their quirky and fearless ability to look american angst in the eye and end up laughing . 
a movie that at its best doesn't just make the most out of its characters' flaws but insists on the virtue of imperfection . 
it's tough to watch , but it's a fantastic movie . 
the best animated feature to hit theaters since beauty and the beast 11 years ago . 
what saves this deeply affecting film from being merely a collection of wrenching cases is corcuera's attention to detail . 
funny and touching . 
pacino is the best he's been in years and keener is marvelous . 
a solid , spooky entertainment worthy of the price of a ticket . 
by turns fanciful , grisly and engagingly quixotic . 
 . . . very funny , very enjoyable . . . 
adaptation is intricately constructed and in a strange way nails all of orlean's themes without being a true adaptation of her book . 
so purely enjoyable that you might not even notice it's a fairly straightforward remake of hollywood comedies such as father of the bride . 
moonlight mile gives itself the freedom to feel contradictory things . it is sentimental but feels free to offend , is analytical and then surrenders to the illogic of its characters , is about grief and yet permits laughter . 
the real triumphs in igby come from philippe , who makes oliver far more interesting than the character's lines would suggest , and sarandon , who couldn't be better as a cruel but weirdly likable wasp matron . 
robin williams has thankfully ditched the saccharine sentimentality of bicentennial man in favour of an altogether darker side . 
if you're willing to have fun with it , you won't feel cheated by the high infidelity of unfaithful . 
australia : land beyond time is an enjoyable big movie primarily because australia is a weirdly beautiful place . 
hoffman's performance is authentic to the core of his being . 
told just proficiently enough to trounce its overly comfortable trappings . 
an enthralling aesthetic experience , one that's steeped in mystery and a ravishing , baroque beauty . 
the quirky drama touches the heart and the funnybone thanks to the energetic and always surprising performance by rachel griffiths . 
a captivating coming-of-age story that may also be the first narrative film to be truly informed by the wireless age . 
what could have been a daytime soap opera is actually a compelling look at a young woman's tragic odyssey . 
duvall is strong as always . 
a no-holds-barred cinematic treat . 
you'd have to be a most hard-hearted person not to be moved by this drama . 
allen's underestimated charm delivers more goodies than lumps of coal . 
measured against practically any like-themed film other than its oscar-sweeping franchise predecessor the silence of the lambs , red dragon rates as an exceptional thriller . 
an exhilarating serving of movie fluff . 
maelstrom is strange and compelling , engrossing and different , a moral tale with a twisted sense of humor . 
it makes you believe the cast and crew thoroughly enjoyed themselves and believed in their small-budget film . 
dark and disturbing , yet compelling to watch . 
too often , son of the bride becomes an exercise in trying to predict when a preordained " big moment " will occur and not " if . " 
the picture uses humor and a heartfelt conviction to tell a story about discovering your destination in life , but also acknowledging the places , and the people , from whence you came . 
a solid piece of journalistic work that draws a picture of a man for whom political expedience became a deadly foreign policy . 
a terrific insider look at the star-making machinery of tinseltown . 
it's a diverting enough hour-and-a-half for the family audience . 
a party-hearty teen flick that scalds like acid . 
as giddy and whimsical and relevant today as it was 270 years ago . 
the film offers an intriguing what-if premise . 
the pianist is the film roman polanski may have been born to make . 
this version does justice both to stevenson and to the sci-fi genre . 
poignant and delicately complex . 
enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers . 
cho's latest comic set isn't as sharp or as fresh as i'm the one that i want . . . but it's still damn funny stuff . 
in the pianist , polanski is saying what he has long wanted to say , confronting the roots of his own preoccupations and obsessions , and he allows nothing to get in the way . 
despite the film's shortcomings , the stories are quietly moving . 
those who love cinema paradiso will find the new scenes interesting , but few will find the movie improved . 
if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy . 
this bracingly truthful antidote to hollywood teenage movies that slather clearasil over the blemishes of youth captures the combustible mixture of a chafing inner loneliness and desperate grandiosity that tend to characterize puberty . 
the reason to see " sade " lay with the chemistry and complex relationship between the marquis ( auteil ) and emilie ( le besco ) . 
it's the filmmakers' post-camp comprehension of what made old-time b movies good-bad that makes eight legged freaks a perfectly entertaining summer diversion . 
serious and thoughtful . 
it strikes hardest when it reminds you how pertinent its dynamics remain . fifty years after the fact , the world's political situation seems little different , and [director phillip] noyce brings out the allegory with remarkable skill . 
the film's strength isn't in its details , but in the larger picture it paints - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deepest , media-soaked fears . 
 . . . best seen as speculative history , as much an exploration of the paranoid impulse as a creative sequel to the warren report . 
it has its faults , but it is a kind , unapologetic , sweetheart of a movie , and mandy moore leaves a positive impression . 
the saigon of 1952 is an uneasy mix of sensual delights and simmering violence , and the quiet american brings us right into the center of that world . 
despite its shortcomings , girls can't swim represents an engaging and intimate first feature by a talented director to watch , and it's a worthy entry in the french coming-of-age genre . 
flawed , but worth seeing for ambrose's performance . 
with dirty deeds , david caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen . 
the humor and humanity of monsoon wedding are in perfect balance . 
lookin' for sin , american-style ? try hell house , which documents the cautionary christian spook-a-rama of the same name . 
a compelling motion picture that illustrates an american tragedy . 
as comedic spotlights go , notorious c . h . o . hits all the verbal marks it should . 
it's a day at the beach -- with air conditioning and popcorn . 
frida isn't that much different from many a hollywood romance . what sets it apart is the vision that taymor , the avant garde director of broadway's the lion king and the film titus , brings . 
stevens has a flair for dialogue comedy , the film operates nicely off the element of surprise , and the large cast is solid . 
extremely well acted by the four primary actors , this is a seriously intended movie that is not easily forgotten . 
the film exudes the urbane sweetness that woody allen seems to have bitterly forsaken . 
k-19 : the widowmaker is derivative , overlong , and bombastic -- yet surprisingly entertaining . 
it's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart . 
cineasts will revel in those visual in-jokes , as in the film's verbal pokes at everything from the likes of miramax chief harvey weinstein's bluff personal style to the stylistic rigors of denmark's dogma movement . 
it's a rare window on an artistic collaboration . 
 . . . begins with promise , but runs aground after being snared in its own tangled plot . 
perhaps the best sports movie i've ever seen . 
cho's timing is priceless . 
 . . . creates a visceral sense of its characters' lives and conflicted emotions that carries it far above . . . what could have been a melodramatic , lifetime channel-style anthology . 
a sensitive , moving , brilliantly constructed work . 
an edgy thriller that delivers a surprising punch . 
a reasonably entertaining sequel to 1994's surprise family hit that may strain adult credibility . 
[reno] delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion . 
there is truth here
a confident , richly acted , emotionally devastating piece of work and 2002's first great film
a touching , small-scale story of family responsibility and care in the community . 
arteta directs one of the best ensemble casts of the year
the casting of von sydow . . . is itself intacto's luckiest stroke . 
no , it's not as single-minded as john carpenter's original , but it's sure a lot smarter and more unnerving than the sequels . 
a gem of a romantic crime comedy that turns out to be clever , amusing and unpredictable . 
stands as one of the year's most intriguing movie experiences , letting its imagery speak for it while it forces you to ponder anew what a movie can be . 
 . . . the first 2/3 of the film are incredibly captivating and insanely funny , thanks in part to interesting cinematic devices ( cool visual backmasking ) , a solid cast , and some wickedly sick and twisted humor . . . 
this movie got me grinning . there's a part of us that cannot help be entertained by the sight of someone getting away with something . 
an old-fashioned drama of substance about a teacher's slide down the slippery slope of dishonesty after an encounter with the rich and the powerful who have nothing but disdain for virtue . 
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' ? 
this english-language version . . . does full honor to miyazaki's teeming and often unsettling landscape , and to the conflicted complexity of his characters . 
the pleasures that it does afford may be enough to keep many moviegoers occupied amidst some of the more serious-minded concerns of other year-end movies . 
not everyone will welcome or accept the trials of henry kissinger as faithful portraiture , but few can argue that the debate it joins is a necessary and timely one . 
there are no special effects , and no hollywood endings . 
like the original , this version is raised a few notches above kiddie fantasy pablum by allen's astringent wit . 
despite its hawaiian setting , the science-fiction trimmings and some moments of rowdy slapstick , the basic plot of " lilo " could have been pulled from a tear-stained vintage shirley temple script . 
a brutally honest documentary about a much anticipated family reunion that goes wrong thanks to culture shock and a refusal to empathize with others . 
filled with honest performances and exceptional detail , baran is a gentle film with dramatic punch , a haunting ode to humanity . 
sparkles in its deft portrait of tinseltown's seasoned veterans of gossip , wealth , paranoia , and celebrityhood . 
in its dry and forceful way , it delivers the same message as jiri menzel's closely watched trains and danis tanovic's no man's land . 
one-of-a-kind near-masterpiece . 
 . . . a triumph of emotionally and narratively complex filmmaking . 
[haynes'] homage to such films as " all that heaven allows " and " imitation of life " transcends them . simply put , " far from heaven " is a masterpiece . 
an intense and effective film about loneliness and the chilly anonymity of the environments where so many of us spend so much of our time . 
although fairly involving as far as it goes , the film doesn't end up having much that is fresh to say about growing up catholic or , really , anything . 
proves mainly that south korean filmmakers can make undemanding action movies with all the alacrity of their hollywood counterparts . 
a very funny romantic comedy about two skittish new york middle-agers who stumble into a relationship and then struggle furiously with their fears and foibles . 
top-notch action powers this romantic drama . 
beresford nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart . it really is a shame that more won't get an opportunity to embrace small , sweet 'evelyn . '
i stopped thinking about how good it all was , and started doing nothing but reacting to it - feeling a part of its grand locations , thinking urgently as the protagonists struggled , feeling at the mercy of its inventiveness , gasping at its visual delights . 
probably the best case for christianity since chesterton and lewis . 
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 . 
would be an unendurable viewing experience for this ultra-provincial new yorker if 26-year-old reese witherspoon were not on hand to inject her pure fantasy character , melanie carmichael , with a massive infusion of old-fashioned hollywood magic . 
visually fascinating . . . an often intense character study about fathers and sons , loyalty and duty . 
a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world . 
schütte's dramatic snapshot of the artist three days before his death offers an interesting bit of speculation as to the issues brecht faced as his life drew to a close . 
a slick , engrossing melodrama . 
s1m0ne's satire is not subtle , but it is effective . it's a quirky , off-beat project . . . . 
while some will object to the idea of a vietnam picture with such a rah-rah , patriotic tone , soldiers ultimately achieves its main strategic objective : dramatizing the human cost of the conflict that came to define a generation . 
even if you don't know the band or the album's songs by heart , you will enjoy seeing how both evolve , and you will also learn a good deal about the state of the music business in the 21st century . 
the solid filmmaking and convincing characters makes this a high water mark for this genre . 
films about loss , grief and recovery are pretty valuable these days . seen in that light , moonlight mile should strike a nerve in many . 
it's endlessly inventive , consistently intelligent and sickeningly savage . 
it is definitely worth seeing . 
an impeccable study in perversity . 
far from heaven is a dazzling conceptual feat , but more than that , it's a work of enthralling drama . 
a movie that both thrills the eye and , in its over-the-top way , touches the heart . 
stuffed to the brim with ideas , american instigator michael moore's film is a rambling examination of american gun culture that uses his usual modus operandi of crucifixion through juxtaposition . 
affectionately reminds us that , in any language , the huge stuff in life can usually be traced back to the little things . 
a drama of great power , yet some members of the audience will leave the theater believing they have seen a comedy . 
the large-frame imax camera lends itself beautifully to filming the teeming life on the reefs , making this gorgeous film a must for everyone from junior scientists to grown-up fish lovers . 
the result is more depressing than liberating , but it's never boring . 
a story about intelligent high school students that deals with first love sweetly but also seriously . it is also beautifully acted . 
it isn't that the picture is unfamiliar , but that it manages to find new avenues of discourse on old problems . 
same song , second verse , coulda been better , but it coulda been worse . 
it's a technically superb film , shining with all the usual spielberg flair , expertly utilizing the talents of his top-notch creative team . 
wilco fans will have a great time , and the movie should win the band a few new converts , too . 
tsai has a well-deserved reputation as one of the cinema world's great visual stylists , and in this film , every shot enhances the excellent performances . 
the date movie that franz kafka would have made . 
the fact is that the screen is most alive when it seems most likely that broomfield's interviewees , or even himself , will not be for much longer . 
leguizamo and jones are both excellent and the rest of the cast is uniformly superb . 
i liked this film a lot . . . 
 . . . there is enough originality in 'life' to distance it from the pack of paint-by-number romantic comedies that so often end up on cinema screens . 
a solid and refined piece of moviemaking imbued with passion and attitude . 
nettelbeck has crafted an engaging fantasy of flavours and emotions , one part romance novel , one part recipe book . 
with or without the sex , a wonderful tale of love and destiny , told well by a master storyteller
on the surface a silly comedy , scotland , pa would be forgettable if it weren't such a clever adaptation of the bard's tragic play . 
a weird , arresting little ride . 
a fine film , but it would be a lot better if it stuck to betty fisher and left out the other stories . 
a first-class road movie that proves you can run away from home , but your ego and all your problems go with you . 
you might want to take a reality check before you pay the full ticket price to see " simone , " and consider a dvd rental instead . 
well cast and well directed - a powerful drama with enough sardonic wit to keep it from being maudlin . 
a backstage must-see for true fans of comedy . 
there's back-stabbing , inter-racial desire and , most importantly , singing and dancing . 
the film sounds like the stuff of lurid melodrama , but what makes it interesting as a character study is the fact that the story is told from paul's perspective . 
jones . . . makes a great impression as the writer-director of this little $1 . 8 million charmer , which may not be cutting-edge indie filmmaking but has a huge heart . 
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
below may not mark mr . twohy's emergence into the mainstream , but his promise remains undiminished . 
there's no reason to miss interview with the assassin
happily stays close to the ground in a spare and simple manner and doesn't pummel us with phony imagery or music . 
its sheer dynamism is infectious . 
for his first attempt at film noir , spielberg presents a fascinating but flawed look at the near future . 
lightweight but appealing . 
it somehow managed to make its way past my crappola radar and find a small place in my heart
perhaps it's cliche to call the film 'refreshing , ' but it is . 'drumline' shows a level of young , black manhood that is funny , touching , smart and complicated . 
it does give a taste of the burning man ethos , an appealing blend of counter-cultural idealism and hedonistic creativity . 
the limited sets and small confined and dark spaces also are homages to a classic low-budget film noir movie . 
the movie is well done , but slow . 
[a] wonderfully loopy tale of love , longing , and voting . 
the fascination comes in the power of the huston performance , which seems so larger than life and yet so fragile , and in the way the ivan character accepts the news of his illness so quickly but still finds himself unable to react . 
the last scenes of the film are anguished , bitter and truthful . mr . koshashvili is a director to watch . 
predictable storyline and by-the-book scripting is all but washed away by sumptuous ocean visuals and the cinematic stylings of director john stockwell . 
antwone fisher certainly does the trick of making us care about its protagonist and celebrate his victories but , with few exceptions , it rarely stoops to cheap manipulation or corny conventions to do it . 
one feels the dimming of a certain ambition , but in its place a sweetness , clarity and emotional openness that recalls the classics of early italian neorealism . 
it challenges , this nervy oddity , like modern art should . 
whenever you think you've figured out late marriage , it throws you for a loop . 
the pianist is polanski's best film . 
it is a testament of quiet endurance , of common concern , of reconciled survival . 
this orange has some juice , but it's far from fresh-squeezed . 
a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china . 
highly engaging . 
high crimes knows the mistakes that bad movies make and is determined not to make them , and maybe that is nobility of a sort . 
cusack's just brilliant in this . 
knows how to make our imagination wonder . 
jae-eun jeong's take care of my cat brings a beguiling freshness to a coming-of-age story with such a buoyant , expressive flow of images that it emerges as another key contribution to the flowering of the south korean cinema . 
the overall fabric is hypnotic , and mr . mattei fosters moments of spontaneous intimacy . 
evokes a palpable sense of disconnection , made all the more poignant by the incessant use of cell phones . 
malcolm mcdowell is cool . paul bettany is cool . paul bettany playing malcolm mcdowell ? cool . 
a touching , sophisticated film that almost seems like a documentary in the way it captures an italian immigrant family on the brink of major changes . 
 . . . a trashy little bit of fluff stuffed with enjoyable performances and a bewildering sense of self-importance
an inventive , absorbing movie that's as hard to classify as it is hard to resist . 
it made me want to get made-up and go see this movie with my sisters . i thought the relationships were wonderful , the comedy was funny , and the love 'real' . 
 ( caine ) proves once again he hasn't lost his touch , bringing off a superb performance in an admittedly middling film . 
bogdanovich puts history in perspective and , via kirsten dunst's remarkable performance , he showcases davies as a young woman of great charm , generosity and diplomacy . 
this breezy caper movie becomes a soulful , incisive meditation on the way we were , and the way we are . 
a captivating new film . 
those who aren't put off by the film's austerity will find it more than capable of rewarding them . 
it's a clear-eyed portrait of an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties . 
reveals how important our special talents can be when put in service of of others . it also shows how deeply felt emotions can draw people together across the walls that might otherwise separate them . 
with the same sort of good-natured fun found in films like tremors , eight legged freaks is prime escapist fare . 
a sharp , amusing study of the cult of celebrity . 
the sentimental cliches mar an otherwise excellent film . a powerful performance from mel gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an m-16 . 
a graceful , moving tribute to the courage of new york's finest and a nicely understated expression of the grief shared by the nation at their sacrifice . 
a coming-of-age tale from new zealand whose boozy , languid air is balanced by a rich visual clarity and deeply felt performances across the board . 
made to be jaglomized is the cannes film festival , the annual riviera spree of flesh , buzz , blab and money . the charming result is festival in cannes . 
if you're looking for something new and hoping for something entertaining , you're in luck . 
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 . 
a rip-roaring comedy action fest that'll put hairs on your chest . 
if there's no art here , it's still a good yarn -- which is nothing to sneeze at these days . 
simultaneously heart-breaking and very funny , the last kiss is really all about performances . 
there is a subversive element to this disney cartoon , providing unexpected fizzability . 
an unforgettable look at morality , family , and social expectation through the prism of that omnibus tradition called marriage . 
an enjoyable , if occasionally flawed , experiment . 
miyazaki is one of world cinema's most wondrously gifted artists and storytellers . 
if ayurveda can help us return to a sane regimen of eating , sleeping and stress-reducing contemplation , it is clearly a good thing . 
meeting , even exceeding expectations , it's the best sequel since the empire strikes back . . . a majestic achievement , an epic of astonishing grandeur and surprising emotional depth . 
leigh is one of the rare directors who feels acting is the heart and soul of cinema . he allows his cast members to make creative contributions to the story and dialogue . this method almost never fails him , and it works superbly here . 
poetry in motion captured on film . while it can be a bit repetitive , overall it's an entertaining and informative documentary . 
directing with a sure and measured hand , [haneke] steers clear of the sensational and offers instead an unflinching and objective look at a decidedly perverse pathology . 
the entire movie establishes a wonderfully creepy mood . 
i found the ring moderately absorbing , largely for its elegantly colorful look and sound . 
the filmmakers want nothing else than to show us a good time , and in their cheap , b movie way , they succeed . 
amari has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances . 
rabbit-proof fence will probably make you angry . but it will just as likely make you weep , and it will do so in a way that doesn't make you feel like a sucker . 
both heartbreaking and heartwarming . . . just a simple fable done in an artless sytle , but it's tremendously moving . 
this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short . 
the film's sense of imagery gives it a terrible strength , but it's propelled by the acting . 
the pianist [is] a supremely hopeful cautionary tale of war's madness remembered that we , today , can prevent its tragic waste of life . here is a divine monument to a single man's struggle to regain his life , his dignity and his music . 
strange it is , but delightfully so . 
elegant , mannered and teasing . 
an average coming-of-age tale elevated by the wholesome twist of a pesky mother interfering during her son's discovery of his homosexuality . 
the ingenuity that parker displays in freshening the play is almost in a class with that of wilde himself . 
decasia is what has happened already to so many silent movies , newsreels and the like . the unexpected thing is that its dying , in this shower of black-and-white psychedelia , is quite beautiful . 
a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state . 
with each of her three protagonists , miller eloquently captures the moment when a woman's life , out of a deep-seated , emotional need , is about to turn onto a different path . 
ryan gosling . . . is at 22 a powerful young actor . 
a minor work yet there's no denying the potency of miller's strange , fleeting brew of hopeful perseverance and hopeless closure . 
as an introduction to the man's theories and influence , derrida is all but useless ; as a portrait of the artist as an endlessly inquisitive old man , however , it's invaluable . 
the film is a verbal duel between two gifted performers . 
imperfect ? yes , but also intriguing and honorable , a worthwhile addition to a distinguished film legacy . 
you'll get the enjoyable basic minimum . but not a whit more . 
what a great way to spend 4 units of your day . 
the movie is hardly a masterpiece , but it does mark ms . bullock's best work in some time . 
as simple and innocent a movie as you can imagine . this is a movie you can trust . 
passionate , irrational , long-suffering but cruel as a tarantula , helga figures prominently in this movie , and helps keep the proceedings as funny for grown-ups as for rugrats . 
 " it's all about the image . " 
feral and uncomfortable . 
vividly conveys the passion , creativity , and fearlessness of one of mexico's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all . 
hollywood ending is not show-stoppingly hilarious , but scathingly witty nonetheless . 
maybe thomas wolfe was right : you can't go home again . 
a compelling yarn , but not quite a ripping one . 
on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience . 
the film has several strong performances . 
i've never bought from telemarketers , but i bought this movie . 
perfectly pitched between comedy and tragedy , hope and despair , about schmidt instead comes far closer than many movies to expressing the way many of us live -- someplace between consuming self-absorption and insistently demanding otherness . 
the funny thing is , i didn't mind all this contrived nonsense a bit . 
[shyamalan] turns the goose-pimple genre on its empty head and fills it with spirit , purpose and emotionally bruised characters who add up to more than body count . 
a sexy , peculiar and always entertaining costume drama set in renaissance spain , and the fact that it's based on true events somehow makes it all the more compelling . 
an entertaining documentary that freshly considers arguments the bard's immortal plays were written by somebody else . 
a highly spirited , imaginative kid's movie that broaches neo-augustinian theology : is god stuck in heaven because he's afraid of his best-known creation ? 
call it magic realism or surrealism , but miss wonton floats beyond reality with a certain degree of wit and dignity . 
raimi and his team couldn't have done any better in bringing the story of spider-man to the big screen . 
the director explores all three sides of his story with a sensitivity and an inquisitiveness reminiscent of truffaut . 
well-acted , well-directed and , for all its moodiness , not too pretentious . 
it's a satisfying summer blockbuster and worth a look . 
boomers and their kids will have a barrie good time . 
real women have curves wears its empowerment on its sleeve but even its worst harangues are easy to swallow thanks to remarkable performances by ferrera and ontiveros . 
ultimately , " mib ii " succeeds due to its rapid-fire delivery and enough inspired levity that it can't be dismissed as mindless . 
stage director sam mendes showcases tom hanks as a depression era hit-man in this dark tale of revenge . 
sitting in the third row of the imax cinema at sydney's darling harbour , but i sometimes felt as though i was in the tiny two seater plane that carried the giant camera around australia , sweeping and gliding , banking and hovering over some of the most not
the real charm of this trifle is the deadpan comic face of its star , jean reno , who resembles sly stallone in a hot sake half-sleep . 
what's so fun about this silly , outrageous , ingenious thriller is the director's talent . watching a brian depalma movie is like watching an alfred hitchcock movie after drinking twelve beers . 
strip it of all its excess debris , and you'd have a 90-minute , four-star movie . as it is , it's too long and unfocused . 
an immensely entertaining look at some of the unsung heroes of 20th century pop music . 
this familiar rise-and-fall tale is long on glamour and short on larger moralistic consequences , though it's told with sharp ears and eyes for the tenor of the times . 
this beautifully animated epic is never dull . 
brian tufano's handsome widescreen photography and paul grabowsky's excellent music turn this fairly parochial melodrama into something really rather special . 
it makes compelling , provocative and prescient viewing . 
a thoroughly entertaining comedy that uses grant's own twist of acidity to prevent itself from succumbing to its own bathos . 
using a stock plot , about a boy injects just enough freshness into the proceedings to provide an enjoyable 100 minutes in a movie theater . 
what eric schaeffer has accomplished with never again may not , strictly speaking , qualify as revolutionary . but it's defiantly and delightfully against the grain . 
the hard-to-predict and absolutely essential chemistry between the down-to-earth bullock and the nonchalant grant proves to be sensational , and everything meshes in this elegant entertainment . 
a positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder of a shakespearean tragedy or a juicy soap opera . 
mr . clooney , mr . kaufman and all their collaborators are entitled to take a deep bow for fashioning an engrossing entertainment out of an almost sure-fire prescription for a critical and commercial disaster . 
definitely funny stuff , but it's more of the 'laughing at' variety than the 'laughing with . '
easily the most thoughtful fictional examination of the root causes of anti-semitism ever seen on screen . 
a gripping drama . 
a real winner -- smart , funny , subtle , and resonant . 
family portrait of need , neurosis and nervy negativity is a rare treat that shows the promise of digital filmmaking . 
the pitch must have read like a discarded house beautiful spread . 
uplifting as only a document of the worst possibilities of mankind can be , and among the best films of the year . 
director david jacobson gives dahmer a consideration that the murderer never game his victims . 
the film has a terrific look and salma hayek has a feel for the character at all stages of her life . 
a decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies . 
the performances are remarkable . 
it's burns' visuals , characters and his punchy dialogue , not his plot , that carry waydowntown . 
as literary desecrations go , this makes for perfectly acceptable , occasionally very enjoyable children's entertainment . you'll forget about it by monday , though , and if they're old enough to have developed some taste , so will your kids . 
while i can't say it's on par with the first one , stuart little 2 is a light , fun cheese puff of a movie . 
strange , funny , twisted , brilliant and macabre . 
a genuinely moving and wisely unsentimental drama . 
heaven is a haunting dramatization of a couple's moral ascension . 
the mothman prophecies is best when illustrating the demons bedevilling the modern masculine journey . 
'stock up on silver bullets for director neil marshall's intense freight train of a film . '
plays out with a dogged and eventually winning squareness that would make it the darling of many a kids-and-family-oriented cable channel . 
an entertaining british hybrid of comedy , caper thrills and quirky romance . 
alain choquart's camera barely stops moving , portraying both the turmoil of the time and giving conduct a perpetual sense of urgency , which , for a film that takes nearly three hours to unspool , is both funny and irritating . 
mostly martha could have used a little trimming -- 10 or 15 minutes could be cut and no one would notice -- but it's a pleasurable trifle . the only pain you'll feel as the credits roll is your stomach grumbling for some tasty grub . 
hardly an objective documentary , but it's great cinematic polemic . . . love moore or loathe him , you've got to admire . . . the intensity with which he's willing to express his convictions . 
the mark of a respectable summer blockbuster is one of two things : unadulterated thrills or genuine laughs . 
the film is visually dazzling , the depicted events dramatic , funny and poignant . 
a directorial tour de force by bernard rose , ivans xtc . is one of this year's very best pictures . 
what makes the movie work — to an admittedly limited extent — is the commitment of two genuinely engaging performers . weaver and lapaglia are both excellent , in the kind of low-key way that allows us to forget that they are actually movie folk . 
even the digressions are funny . 
mr . spielberg and his company just want you to enjoy yourselves without feeling conned . and they succeed merrily at their noble endeavor . 
melodrama with a message . 
en sí mismo el rey león es un espectáculo digno de contemplarse en cine , dvd o en su soberbio montaje teatral ; pero el hacerlo en la pantalla imax es una experiencia colosal . 
a perfectly pleasant if slightly pokey comedy . 
coppola's directorial debut is an incredibly layered and stylistic film that , despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema . 
at the end , when the now computerized yoda finally reveals his martial artistry , the film ascends to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside . 
wang xiaoshuai directs this intricately structured and well-realized drama that presents a fascinating glimpse of urban life and the class warfare that embroils two young men . 
it's hard to imagine anybody ever being " in the mood " to view a movie as harrowing and painful as the grey zone , but it's equally hard to imagine anybody being able to tear their eyes away from the screen once it's started . 
bogdanovich taps deep into the hearst mystique , entertainingly reenacting a historic scandal . 
a moving tale of love and destruction in unexpected places , unexamined lives . 
clooney directs this film always keeping the balance between the fantastic and the believable . . . 
beautifully produced . 
smart and taut . 
even if you don't understand what on earth is going on , this is a movie that will stimulate hours of post viewing discussion , if only to be reminded of who did what to whom and why . 
 . . . a lesson in prehistoric hilarity . 
a fantastically vital movie that manages to invest real humor , sensuality , and sympathy into a story about two adolescent boys . 
lawrence plumbs personal tragedy and also the human comedy . 
though a capable thriller , somewhere along the way k-19 jettisoned some crucial drama . 
just about the surest bet for an all-around good time at the movies this summer . 
it would be disingenuous to call reno a great film , but you can say that about most of the flicks moving in and out of the multiplex . this is a movie that is what it is : a pleasant distraction , a friday night diversion , an excuse to eat popcorn . 
os universos de chuck barris e charlie kaufman são complementares . e igualmente fascinantes . 
there is a certain sense of experimentation and improvisation to this film that may not always work , but it is nevertheless compelling . 
the four feathers has rewards , from the exoticism of its seas of sand to the fierce grandeur of its sweeping battle scenes . 
a delicious , quirky movie with a terrific screenplay and fanciful direction by michael gondry . 
this story still seems timely and important . and there's an element of heartbreak to watching it now , with older and wiser eyes , because we know what will happen after greene's story ends . 
the bodily function jokes are about what you'd expect , but there are rich veins of funny stuff in this movie . 
the performances are amiable and committed , and the comedy more often than not hits the bullseye . 
this time , the hype is quieter , and while the movie is slightly less successful than the first , it's still a rollicking good time for the most part . 
there's plenty to enjoy -- in no small part thanks to lau . 
with a romantic comedy plotline straight from the ages , this cinderella story doesn't have a single surprise up its sleeve . but it does somehow manage to get you under its spell . 
though few will argue that it ranks with the best of herzog's works , invincible shows he's back in form , with an astoundingly rich film . 
 " catch me " feels capable of charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark . 
by no means a great movie , but it is a refreshingly forthright one . 
the casting of raymond j . barry as the 'assassin' greatly enhances the quality of neil burger's impressive fake documentary . 
despite besson's high-profile name being wasabi's big selling point , there is no doubt that krawczyk deserves a huge amount of the credit for the film's thoroughly winning tone . 
this documentary is a dazzling , remarkably unpretentious reminder of what [evans] had , lost , and got back . 
a thoughtful movie , a movie that is concerned with souls and risk and schemes and the consequences of one's actions . 
as satisfyingly odd and intriguing a tale as it was a century and a half ago . . . has a delightfully dour , deadpan tone and stylistic consistency . 
methodical , measured , and gently tedious in its comedy , secret ballot is a purposefully reductive movie -- which may be why it's so successful at lodging itself in the brain . 
a witty , trenchant , wildly unsentimental but flawed look at the ins and outs of modern moviemaking . 
for most of the distance the picture provides a satisfyingly unsettling ride into the dark places of our national psyche . 
by the standards of knucklehead swill , the hot chick is pretty damned funny . 
one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead . 
[reaches] wholly believable and heart-wrenching depths of despair . 
an absorbing and unsettling psychological drama . 
this movie may not have the highest production values you've ever seen , but it's the work of an artist , one whose view of america , history and the awkwardness of human life is generous and deep . 
though it's not very well shot or composed or edited , the score is too insistent and the dialogue is frequently overwrought and crudely literal , the film shatters you in waves . 
the entire cast is extraordinarily good . 
yakusho , as always , is wonderful as the long-faced sad sack . . . and his chemistry with shimizu is very believable . 
the film delivers what it promises : a look at the " wild ride " that ensues when brash young men set out to conquer the online world with laptops , cell phones and sketchy business plans . 
young hanks and fisk , who vaguely resemble their celebrity parents , bring fresh good looks and an ease in front of the camera to the work . 
a captivatingly quirky hybrid of character portrait , romantic comedy and beat-the-clock thriller . 
the film sparkles with the the wisdom and humor of its subjects . 
if [jaglom's] latest effort is not the director at his most sparkling , some of its repartee is still worth hearing . 
like the english patient and the unbearable lightness of being , the hours is one of those reputedly " unfilmable " novels that has bucked the odds to emerge as an exquisite motion picture in its own right . 
just about the best straight-up , old-school horror film of the last 15 years . 
a chilling tale of one of the great crimes of 20th century france : the murder of two rich women by their servants in 1933 . 
an oddity , to be sure , but one that you might wind up remembering with a degree of affection rather than revulsion . 
while the film is not entirely successful , it still manages to string together enough charming moments to work . 
a winning piece of work filled with love for the movies of the 1960s . 
e . t . works because its flabbergasting principals , 14-year-old robert macnaughton , 6-year-old drew barrymore and 10-year-old henry thomas , convince us of the existence of the wise , wizened visitor from a faraway planet . 
helps to remind the first world that hiv/aids is far from being yesterday's news . 
a heartening tale of small victories and enduring hope . 
the vistas are sweeping and the acting is far from painful . 
jackson and co have brought back the value and respect for the term epic cinema . 
it may be a somewhat backhanded compliment to say that the film makes the viewer feel like the movie's various victimized audience members after a while , but it also happens to be the movie's most admirable quality
charlotte sometimes is a brilliant movie . it is about irrational , unexplainable life and it seems so real because it does not attempt to filter out the complexity . 
a delightful stimulus for the optic nerves , so much that it's forgivable that the plot feels like every other tale of a totalitarian tomorrow . 
defies logic , the laws of physics and almost anyone's willingness to believe in it . but darned if it doesn't also keep us riveted to our seats . 
a complex psychological drama about a father who returns to his son's home after decades away . 
writer and director otar iosseliani's pleasant tale about a factory worker who escapes for a holiday in venice reveals how we all need a playful respite from the grind to refresh our souls . 
this is not a retread of " dead poets' society . " 
sweet and memorable film . 
a smart , arch and rather cold-blooded comedy . 
keenly observed and refreshingly natural , swimming gets the details right , from its promenade of barely clad bodies in myrtle beach , s . c . , to the adrenaline jolt of a sudden lunch rush at the diner . 
highly watchable stuff . 
 . . . begins on a high note and sustains it beautifully . 
davis . . . gets vivid performances from her cast and pulls off some deft ally mcbeal-style fantasy sequences . 
'it's better to go in knowing full well what's going to happen , but willing to let the earnestness of its execution and skill of its cast take you down a familiar road with a few twists . cynics need not apply . '
funny , somber , absurd , and , finally , achingly sad , bartleby is a fine , understated piece of filmmaking . 
 " red dragon " is entertaining . an obvious copy of one of the best films ever made , how could it not be ? but it is entertaining on an inferior level . it is a popcorn film , not a must-own , or even a must-see . 
succeeds only because bullock and grant were made to share the silver screen . 
both flawed and delayed , martin scorcese's gangs of new york still emerges as his most vital work since goodfellas . 
as any creature-feature fan knows , when you cross toxic chemicals with a bunch of exotic creatures , you get a lot of running around , screaming and death . on that score , the film certainly doesn't disappoint . 
as the movie traces mr . brown's athletic exploits , it is impossible not to be awed by the power and grace of one of the greatest natural sportsmen of modern times . 
a moving and solidly entertaining comedy/drama that should bolster director and co-writer juan josé campanella's reputation in the united states . 
thanks to confident filmmaking and a pair of fascinating performances , the way to that destination is a really special walk in the woods . 
beautifully shot , delicately scored and powered by a set of heartfelt performances , it's a lyrical endeavour . 
a macabre and very stylized swedish fillm about a modern city where all the religious and civic virtues that hold society in place are in tatters . 
a stylistic romp that's always fun to watch . 
informative , intriguing , observant , often touching . . . gives a human face to what's often discussed in purely abstract terms . 
 . . . once the true impact of the day unfolds , the power of this movie is undeniable . 
an honest , sensitive story from a vietnamese point of view . 
 a buoyant romantic comedy about friendship , love , and the truth that we're all in this together . 
the film's intimate camera work and searing performances pull us deep into the girls' confusion and pain as they struggle tragically to comprehend the chasm of knowledge that's opened between them . 
it's the perfect star vehicle for grant , allowing him to finally move away from his usual bumbling , tongue-tied screen persona . 
gaunt , silver-haired and leonine , [harris] brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman . 
a disturbing examination of what appears to be the definition of a 'bad' police shooting . 
it's been made with an innocent yet fervid conviction that our hollywood has all but lost . 
not only a reminder of how they used to make movies , but also how they sometimes still can be made . 
a three-hour cinema master class . 
eyre is on his way to becoming the american indian spike lee . 
psychologically revealing . 
a witty , whimsical feature debut . 
warm in its loving yet unforgivingly inconsistent depiction of everyday people , relaxed in its perfect quiet pace and proud in its message . i loved this film . 
it provides a grim , upsetting glimpse at the lives of some of the 1 . 2 million palestinians who live in the crowded cities and refugee camps of gaza . 
clint eastwood's blood work is a lot like a well-made pb& j sandwich : familiar , fairly uneventful and boasting no real surprises but still quite tasty and inviting all the same . 
a movie that will surely be profane , politically charged music to the ears of cho's fans . 
much of this slick and sprightly cgi feature is sufficiently funny to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings . 
rarely , a movie is more than a movie . go . 
jacquot's strategy allows his cast the benefit of being able to give full performances . . . while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself . 
quitting delivers a sucker-punch , and its impact is all the greater beause director zhang's last film , the cuddly shower , was a non-threatening multi-character piece centered around a public bath house . 
by not averting his eyes , solondz forces us to consider the unthinkable , the unacceptable , the unmentionable . 
one hour photo may seem disappointing in its generalities , but it's the little nuances that perhaps had to escape from director mark romanek's self-conscious scrutiny to happen , that finally get under your skin . 
while general audiences might not come away with a greater knowledge of the facts of cuban music , they'll be treated to an impressive and highly entertaining celebration of its sounds . 
a fascinating documentary that provides a rounded and revealing overview of this ancient holistic healing system
birthday girl lucks out with chaplin and kidman , who are capable of anteing up some movie star charisma when they need it to sell us on this twisted love story , but who can also negotiate the movie's darker turns . 
an interesting look behind the scenes of chicago-based rock group wilco . . . 
sharp edges and a deep vein of sadness run through its otherwise comic narrative . 
there's lots of cool stuff packed into espn's ultimate x . 
rock solid family fun out of the gates , extremely imaginative through out , but wanes in the middle
as a film director , labute continues to improve . 
the ya-ya's have many secrets and one is - the books are better . translating complex characters from novels to the big screen is an impossible task but they are true to the essence of what it is to be ya-ya . 
the touch is generally light enough and the performances , for the most part , credible . 
i liked about schmidt a lot , but i have a feeling that i would have liked it much more if harry & tonto never existed . 
steers has an unexpectedly adamant streak of warm-blooded empathy for all his disparate manhattan denizens--especially the a * * holes . 
that storytelling has value cannot be denied . not even solondz's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it . 
once the downward spiral comes to pass , auto focus bears out as your typical junkie opera . . . 
a knowing sense of humor and a lot of warmth ignite son of the bride . 
a rich tale of our times , very well told with an appropriate minimum of means . 
the characters are complex and quirky , but entirely believable as the remarkable ensemble cast brings them to life . 
in all fairness , i must report that the children of varying ages in my audience never coughed , fidgeted or romped up and down the aisles for bathroom breaks . 
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 . 
efficient , suitably anonymous chiller . 
gorgeous scenes , masterful performances , but the sickly sweet gender normative narrative left an acrid test in this gourmet's mouth . 
the hot topics of the plot are relegated to the background -- a welcome step forward from the sally jesse raphael atmosphere of films like philadelphia and american beauty . 
it's usually a bad sign when directors abandon their scripts and go where the moment takes them , but olympia , wash . , based filmmakers anne de marcken and marilyn freeman did just that and it's what makes their project so interesting . 
a memorable experience that , like many of his works , presents weighty issues colorfully wrapped up in his own idiosyncratic strain of kitschy goodwill . 
executed with such gentle but insistent sincerity , with such good humor and appreciation of the daily grind that only the most hardhearted scrooge could fail to respond . 
the gentle comic treatment of adolescent sturm und drang should please fans of chris fuhrman's posthumously published cult novel . 
director claude chabrol has become the master of innuendo . it is not what you see , it is what you think you see . 
a deftly entertaining film , smartly played and smartly directed . 
a documentary to make the stones weep -- as shameful as it is scary . 
i hope the movie is widely seen and debated with appropriate ferocity and thoughtfulness . 
 a thought-provoking look at how western foreign policy - however well intentioned - can wreak havoc in other cultures . 
asks what truth can be discerned from non-firsthand experience , and specifically questions cinema's capability for recording truth . 
the journey to the secret's eventual discovery is a separate adventure , and thrill enough . 
a quiet , disquieting triumph . 
darkly funny and frequently insightful . 
 . . . the tale of her passionate , tumultuous affair with musset unfolds as sand's masculine persona , with its love of life and beauty , takes form . 
if you want to see a train wreck that you can't look away from , then look no further , because here it is . 
there's so much to look at in metropolis you hate to tear your eyes away from the images long enough to read the subtitles . 
the search for redemption makes for a touching love story , mainly because blanchett and ribisi compellingly tap into a spiritual aspect of their characters' suffering . 
a fast paced and suspenseful argentinian thriller about the shadow side of play . 
a film of ideas and wry comic mayhem . 
at its worst the screenplay is callow , but at its best it is a young artist's thoughtful consideration of fatherhood . 
a worthwhile documentary , whether you're into rap or not , even if it may still leave you wanting more answers as the credits roll . 
fessenden's narrative is just as much about the ownership and redefinition of myth as it is about a domestic unit finding their way to joy . 
that the film opens with maggots crawling on a dead dog is not an out of place metaphor . 
stanley kwan has directed not only one of the best gay love stories ever made , but one of the best love stories of any stripe . 
the concert footage is stirring , the recording sessions are intriguing , and -- on the way to striking a blow for artistic integrity -- this quality band may pick up new admirers . 
norton holds the film together . 
[there's] quite a bit of heart , as you would expect from the directors of the little mermaid and aladdin . 
you won't have any trouble getting kids to eat up these veggies . 
a creaky staircase gothic . 
enjoyably dumb , sweet , and intermittently hilarious -- if you've a taste for the quirky , steal a glimpse . 
a movie that sends you out of the theater feeling like you've actually spent time living in another community . 
light-years ahead of paint-by-number american blockbusters like pearl harbor , at least artistically . 
a fascinating documentary about the long and eventful spiritual journey of the guru who helped launch the new age . 
isabelle huppert excels as the enigmatic mika and anna mouglalis is a stunning new young talent in one of chabrol's most intense psychological mysteries . 
perhaps not since nelson eddy crooned his indian love call to jeanette macdonald has there been a movie so unabashedly canadian , not afraid to risk american scorn or disinterest . 
wedding feels a bit anachronistic . still , not every low-budget movie must be quirky or bleak , and a happy ending is no cinematic sin . 
it's still a comic book , but maguire makes it a comic book with soul . 
brings to a spectacular completion one of the most complex , generous and subversive artworks of the last decade . 
an amusing and unexpectedly insightful examination of sexual jealousy , resentment and the fine line between passion and pretence . 
a fascinating , bombshell documentary that should shame americans , regardless of whether or not ultimate blame finally lies with kissinger . should be required viewing for civics classes and would-be public servants alike . 
adaptation's success in engaging the audience in the travails of creating a screenplay is extraordinary . 
a polished and vastly entertaining caper film that puts the sting back into the con . 
it's no surprise that as a director washington demands and receives excellent performances , from himself and from newcomer derek luke . 
 . . . while each moment of this broken character study is rich in emotional texture , the journey doesn't really go anywhere . 
the film gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection . 
it's an often-cute film but either needs more substance to fill the time or some judicious editing . 
this may be burns's strongest film since the brothers mcmullen . 
what makes this film special is serry's ability to take what is essentially a contained family conflict and put it into a much larger historical context . 
it's quaid who anchors the film with his effortless performance and that trademark grin of his -- so perfect for a ballplayer . 
it is ok for a movie to be something of a sitcom apparatus , if the lines work , the humor has point and the actors are humanly engaged . 
though not for everyone , the guys is a somber trip worth taking . 
will warm your heart without making you feel guilty about it . 
a sly female empowerment movie , although not in a way anyone would expect . 
you really have to salute writer-director haneke ( he adapted elfriede jelinek's novel ) for making a film that isn't nearly as graphic but much more powerful , brutally shocking and difficult to watch . 
it's a wonderful , sobering , heart-felt drama . 
runs on the pure adrenalin of pacino's performance . 
the paradiso's rusted-out ruin and ultimate collapse during the film's final ( restored ) third…emotionally belittle a cinema classic . sometimes shorter is better . 
phillip noyce and all of his actors -- as well as his cinematographer , christopher doyle -- understand the delicate forcefulness of greene's prose , and it's there on the screen in their version of the quiet american . 
the film just might turn on many people to opera , in general , an art form at once visceral and spiritual , wonderfully vulgar and sublimely lofty -- and as emotionally grand as life . 
as a vehicle to savour binoche's skill , the film is well worthwhile . 
 . . . wise and elegiac . . . 
the huskies are beautiful , the border collie is funny and the overall feeling is genial and decent . 
whatever complaints i might have , i'd take [its] earnest errors and hard-won rewards over the bombastic self-glorification of other feel-good fiascos like antwone fisher or the emperor's club any time . 
mastering its formidable arithmetic of cameras and souls , group articulates a flood of emotion . 
a pretty decent kid-pleasing , tolerable-to-adults lark of a movie . 
even during the climactic hourlong cricket match , boredom never takes hold . 
combine the paranoid claustrophobia of a submarine movie with the unsettling spookiness of the supernatural -- why didn't hollywood think of this sooner ? 
like kubrick , soderbergh isn't afraid to try any genre and to do it his own way . 
nothing can detract from the affection of that moral favorite : friends will be friends through thick and thin . 
if the film has a problem , its shortness disappoints : you want the story to go on and on . 
unlike most anime , whose most ardent fans outside japan seem to be introverted young men with fantasy fetishes , metropolis never seems hopelessly juvenile . 
the plot twists give i am trying to break your heart an attraction it desperately needed . 
the most brilliant and brutal uk crime film since jack carter went back to newcastle , the first half of gangster no . 1 drips with style and , at times , blood . 
like its new england characters , most of whom wander about in thick clouds of denial , the movie eventually gets around to its real emotional business , striking deep chords of sadness . 
the bai brothers have taken an small slice of history and opened it up for all of us to understand , and they've told a nice little story in the process . 
flamboyant in some movies and artfully restrained in others , 65-year-old jack nicholson could be looking at his 12th oscar nomination by proving that he's now , more than ever , choosing his roles with the precision of the insurance actuary . 
 . . . is there a deeper , more direct connection between these women , one that spans time and reveals meaning ? you bet there is and it's what makes this rather convoluted journey worth taking . 
the most amazing super-sized dosage of goofball stunts any " jackass " fan could want . 
real women may have many agendas , but it also will win you over , in a big way . 
young everlyn sampi , as the courageous molly craig , simply radiates star-power potential in this remarkable and memorable film . 
surprisingly powerful and universal . 
apart from its own considerable achievement , metropolis confirms tezuka's status as both the primary visual influence on the animé tradition and its defining philosophical conscience . 
i'll put it this way : if you're in the mood for a melodrama narrated by talking fish , this is the movie for you . 
morvern callar confirms lynne ramsay as an important , original talent in international cinema . 
well-done supernatural thriller with keen insights into parapsychological phenomena and the soulful nuances of the grieving process . 
a plethora of engaging diatribes on the meaning of 'home , ' delivered in grand passion by the members of the various households . 
it's technically sumptuous but also almost wildly alive . 
this film puts wang at the forefront of china's sixth generation of film makers . 
it's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original . 
wiseman is patient and uncompromising , letting his camera observe and record the lives of women torn apart by a legacy of abuse . 
there's none of the happily-ever -after spangle of monsoon wedding in late marriage -- and that's part of what makes dover kosashvili's outstanding feature debut so potent . 
an ingenious and often harrowing look at damaged people and how families can offer either despair or consolation . 
arguably the best script that besson has written in years . 
it's no lie -- big fat liar is a real charmer . 
invigorating , surreal , and resonant with a rainbow of emotion . 
director alfonso cuaron gets vivid , convincing performances from a fine cast , and generally keeps things going at a rapid pace , occasionally using an omniscient voice-over narrator in the manner of french new wave films . 
pray has really done his subject justice . 
an unexpectedly sweet story of sisterhood . 
maintains your sympathy for this otherwise challenging soul by letting you share her one-room world for a while . 
a subtle , humorous , illuminating study of politics , power and social mobility . 
even if you have no interest in the gang-infested , east-vs . -west coast rap wars , this modern mob music drama never fails to fascinate . 
nair's attention to detail creates an impeccable sense of place , while thurman and lewis give what can easily be considered career-best performances . 
berry's saucy , full-bodied performance gives this aging series a much needed kick , making " die another day " one of the most entertaining bonds in years
red dragon is less baroque and showy than hannibal , and less emotionally affecting than silence . but , like silence , it's a movie that gets under your skin . 
caviezel embodies the transformation of his character completely . 
a creepy , intermittently powerful study of a self-destructive man . . . about as unsettling to watch as an exploratory medical procedure or an autopsy . 
pacino and williams seem to keep upping the ante on each other , just as their characters do in the film . what results is the best performance from either in years . 
the cast is top-notch and i predict there will be plenty of female audience members drooling over michael idemoto as michael . 
béart and berling are both superb , while huppert . . . is magnificent . 
all the actors are good in pauline & paulette but van der groen , described as 'belgium's national treasure , ' is especially terrific as pauline . 
miyazaki has created such a vibrant , colorful world , it's almost impossible not to be swept away by the sheer beauty of his images . 
muccino seems to be exploring the idea of why human beings long for what they don't have , and how this gets us in trouble . but even while his characters are acting horribly , he is always sympathetic . 
whether or not you buy mr . broomfield's findings , the film acquires an undeniable entertainment value as the slight , pale mr . broomfield continues to force himself on people and into situations that would make lesser men run for cover . 
ozpetek joins the ranks of those gay filmmakers who have used the emigre experience to explore same-sex culture in ways that elude the more nationally settled . 
…an eerily suspenseful , deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller . 
i've never seen or heard anything quite like this film , and i recommend it for its originality alone . 
nicole kidman makes it a party worth attending . 
catch it . . . if you can ! 
the direction has a fluid , no-nonsense authority , and the performances by harris , phifer and cam'ron seal the deal . 
the komediant is a tale worth catching . 
the writing is clever and the cast is appealing . 
the simplicity of the way home has few equals this side of aesop
life on the rez is no picnic : this picture shows you why . 
spielberg has managed to marry science fiction with film noir and action flicks with philosophical inquiry . 
it's the type of film about growing up that we don't see often enough these days : realistic , urgent , and not sugarcoated in the least . 
a taut , sobering film . 
exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza . 
it's full of cheesy dialogue , but great trashy fun that finally returns de palma to his pulpy thrillers of the early '80s . 
the results , if not memorable , are at least interesting . 
a quietly moving look back at what it was to be iranian-american in 1979 . 
like a veteran head cutter , barbershop is tuned in to its community . 
i'm sure mainstream audiences will be baffled , but , for those with at least a minimal appreciation of woolf and clarissa dalloway , the hours represents two of those well spent . 
you live the mood rather than savour the story . 
angela gheorghiu as famous prima donna floria tosca , roberto alagna as her lover mario cavaradossi , and ruggero as the villainous , lecherous police chief scarpia , all sing beautifully and act adequately . 
while there are times when the film's reach exceeds its grasp , the production works more often than it doesn't . 
while scorsese's bold images and generally smart casting ensure that " gangs " is never lethargic , the movie is hindered by a central plot that's peppered with false starts and populated by characters who are nearly impossible to care about . 
watching this gentle , mesmerizing portrait of a man coming to terms with time , you barely realize your mind is being blown . 
the beautifully choreographed kitchen ballet is simple but absorbing . 
there's . . . an underlying old world sexism to monday morning that undercuts its charm . 
 " the best disney movie since the lion king " 
transcends its agenda to deliver awe-inspiring , at times sublime , visuals and offer a fascinating glimpse into the subculture of extreme athletes whose derring-do puts the x into the games . 
spare yet audacious . . . 
think of it as gidget , only with muscles and a lot more smarts , but just as endearing and easy to watch . 
there is no solace here , no entertainment value , merely a fierce lesson in where filmmaking can take us . 
giggling at the absurdities and inconsistencies is part of the fun . but the talented cast alone will keep you watching , as will the fight scenes . 
arteta paints a picture of lives lived in a state of quiet desperation . 
drug abuse , infidelity and death aren't usually comedy fare , but turpin's film allows us to chuckle through the angst . 
while insomnia is in many ways a conventional , even predictable remake , nolan's penetrating undercurrent of cerebral and cinemantic flair lends ( it ) stimulating depth . 
efteriades gives the neighborhood -- scenery , vibe and all -- the cinematic equivalent of a big , tender hug . 
this is a nicely handled affair , a film about human darkness but etched with a light ( yet unsentimental ) touch . 
amazing ! a college story that works even without vulgarity , sex scenes , and cussing ! 
the amazing film work is so convincing that by movies' end you'll swear you are wet in some places and feel sand creeping in others . 
a raunchy and frequently hilarious follow-up to the gifted korean american stand-up's i'm the one that i want . 
if you ever wanted to be an astronaut , this is the ultimate movie experience - it's informative and breathtakingly spectacular . 
while parker and co-writer catherine di napoli are faithful to melville's plotline , they and a fully engaged supporting cast . . . have made the old boy's characters more quick-witted than any english lit major would have thought possible . 
a smart , sassy and exceptionally charming romantic comedy . 
surprisingly insightful
there are flaws , but also stretches of impact and moments of awe ; we're wrapped up in the characters , how they make their choices , and why . 
a gift to anyone who loves both dance and cinema
it seems grant doesn't need the floppy hair and the self-deprecating stammers after all . 
a reminder that beyond all the hype and recent digital glitz , spielberg knows how to tell us about people . 
one of the finest , most humane and important holocaust movies ever made . 
an engrossing and infectiously enthusiastic documentary . 
a beautiful , timeless and universal tale of heated passions -- jealousy , betrayal , forgiveness and murder . 
a culture-clash comedy that , in addition to being very funny , captures some of the discomfort and embarrassment of being a bumbling american in europe . 
shattering , devastating documentary on two maladjusted teens in a downward narcotized spiral . extraordinary debut from josh koury . 
the most compelling performance of the year adds substantial depth to this shocking testament to anti-semitism and neo-fascism . 
for those who are intrigued by politics of the '70s , the film is every bit as fascinating as it is flawed . 
all right , so it's not a brilliant piece of filmmaking , but it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast . 
douglas mcgrath's nicholas nickleby does dickens as it should be done cinematically . 
it's a lovely , eerie film that casts an odd , rapt spell . 
the quirky and recessive charms of co-stars martin donovan and mary-louise parker help overcome the problematic script . 
it's good to see michael caine whipping out the dirty words and punching people in the stomach again . 
you just know something terrible is going to happen . but when it does , you're entirely unprepared . 
it's fun , wispy , wise and surprisingly inoffensive for a film about a teen in love with his stepmom . 
able to provide insight into a fascinating part of theater history . 
an unflinching , complex portrait of a modern israel that is rarely seen on-screen . 
a jewish ww ii doc that isn't trying simply to out-shock , out-outrage or out-depress its potential audience ! who knew . . . 
it's a familiar story , but one that is presented with great sympathy and intelligence . 
gently humorous and touching . 
it won't hold up over the long haul , but in the moment , finch's tale provides the forgettable pleasures of a saturday matinee . 
kinnear's performance is a career-defining revelation . 
the film is predictable in the reassuring manner of a beautifully sung holiday carol . 
 . . . hits every cliche we've come to expect , including the assumption that " crazy " people are innocent , childlike and inherently funny . 
the strong subject matter continues to shock throughout the film . not everyone will play the dark , challenging tune taught by the piano teacher . 
a certain sexiness underlines even the dullest tangents . 
you may be captivated , as i was , by its moods , and by its subtly transformed star , and still wonder why paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear . 
there is no substitute for on-screen chemistry , and when friel pulls the strings that make williams sink into melancholia , the reaction in williams is as visceral as a gut punch . 
that old adage about women being unknowable gets an exhilarating new interpretation in morvern callar . 
a mix of gritty realism , crisp storytelling and radiant compassion that effortlessly draws you in . 
after watching it , you can only love the players it brings to the fore for the gifted but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history . 
in his u . s . debut , mr . schnitzler proves himself a deft pace master and stylist . 
ultimate x is a ride , basically the kind of greatest-hits reel that might come with a subscription to espn the magazine . 
rich in shadowy metaphor and as sharp as a samurai sword , jiang wen's devils on the doorstep is a wartime farce in the alternately comic and gut-wrenching style of joseph heller or kurt vonnegut . 
offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a hollywood film . 
a winning comedy with its wry observations about long-lived friendships and the ways in which we all lose track of ourselves by trying to please others . 
its cast full of caffeinated comedy performances more than make up for its logical loopholes , which fly by so fast there's no time to think about them anyway . 
lohman adapts to the changes required of her , but the actress and director peter kosminsky never get the audience to break through the wall her character erects
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 . 
for a movie audience , the hours doesn't connect in a neat way , but introduces characters who illuminate mysteries of sex , duty and love . 
a bright , inventive , thoroughly winning flight of revisionist fancy . 
ozpetek's effort has the scope and shape of an especially well-executed television movie . 
graças às interações entre seus personagens , o filme torna-se não apenas uma história divertida sobre uma curiosa perseguição , mas também um belo estudo de personagens . 
affirms the gifts of all involved , starting with spielberg and going right through the ranks of the players -- on-camera and off -- that he brings together . 
a delightful little film that revels in its own simplicity , mostly martha will leave you with a smile on your face and a grumble in your stomach . 
makes one thing abundantly clear . american musical comedy as we know it wouldn't exist without the precedent of yiddish theater , whose jolly , fun-for-fun's-sake communal spirit goes to the essence of broadway . 
deepa mehta provides an accessible introduction as well as some intelligent observations on the success of bollywood in the western world . 
if anything , the film is doing something of a public service -- shedding light on a group of extremely talented musicians who might otherwise go unnoticed and underappreciated by music fans . 
in addition to gluing you to the edge of your seat , changing lanes is also a film of freshness , imagination and insight . 
pan nalin's exposition is beautiful and mysterious , and the interviews that follow , with the practitioners of this ancient indian practice , are as subtle and as enigmatic . 
the mood , look and tone of the film fit the incredible storyline to a t . 
it's crafty , energetic and smart -- the kid is sort of like a fourteen-year old ferris bueller . 
a work of extraordinary journalism , but it is also a work of deft and subtle poetry . 
it's funny and human and really pretty damned wonderful , all at once . 
at 78 minutes it just zings along with vibrance and warmth . 
a strangely stirring experience that finds warmth in the coldest environment and makes each crumb of emotional comfort feel like a 10-course banquet . 
sometimes this 'blood' seems as tired as its protagonist . . . still , the pulse never disappears entirely , and the picture crosses the finish line winded but still game . 
the stripped-down dramatic constructs , austere imagery and abstract characters are equal parts poetry and politics , obvious at times but evocative and heartfelt . 
dogtown and z-boys more than exposes the roots of the skateboarding boom that would become " the punk kids' revolution . " 
 . . . plenty of warmth to go around , with music and laughter and the love of family . 
it'll keep you wide awake and . . . very tense . 
could use a little more humanity , but it never lacks in eye-popping visuals . 
 ( danny huston gives ) an astounding performance that deftly , gradually reveals a real human soul buried beneath a spellbinding serpent's smirk . 
these three films form a remarkably cohesive whole , both visually and thematically , through their consistently sensitive and often exciting treatment of an ignored people . 
a funny and well-contructed black comedy where the old adage " be careful what you wish for " is given a full workout . 
it reaffirms life as it looks in the face of death . 
the film is reasonably entertaining , though it begins to drag two-thirds through , when the melodramatic aspects start to overtake the comedy . 
this is more fascinating -- being real -- than anything seen on jerry springer . 
a different movie -- sometimes tedious -- by a director many viewers would like to skip but film buffs should get to know . 
williams plays sy , another of his open-faced , smiling madmen , like the killer in insomnia . he does this so well you don't have the slightest difficulty accepting him in the role . 
twist open the ouzo ! it's time to let your hair down greek style . a vibrant whirlwind of love , family and all that goes with it , my big fat greek wedding is a non-stop funny feast of warmth , colour and cringe . 
thought-provoking and stylish , if also somewhat hermetic . 
broomfield is energized by volletta wallace's maternal fury , her fearlessness , and because of that , his film crackles . 
while it has definite weaknesses -- like a rather unbelievable love interest and a meandering ending -- this '60s caper film is a riveting , brisk delight . 
funny in a sick , twisted sort of way . 
if cinema had been around to capture the chaos of france in the 1790's , one imagines the result would look like something like this . 
it's a talking head documentary , but a great one . 
the fast runner' transports the viewer into an unusual space
ultimately engages less for its story of actorly existential despair than for its boundary-hopping formal innovations and glimpse into another kind of chinese 'cultural revolution . '
 . . . a solid , well-formed satire . 
as part of mr . dong's continuing exploration of homosexuality in america , family fundamentals is an earnest study in despair . 
most consumers of lo mein and general tso's chicken barely give a thought to the folks who prepare and deliver it , so , hopefully , this film will attach a human face to all those little steaming cartons . 
hatosy . . . portrays young brendan with his usual intelligence and subtlety , not to mention a convincing brogue . 
the filmmakers' eye for detail and the high standards of performance convey a strong sense of the girls' environment . 
uneven , self-conscious but often hilarious spoof . 
even bigger and more ambitious than the first installment , spy kids 2 looks as if it were made by a highly gifted 12-year-old instead of a grown man . 
thanks to the château's balance of whimsicality , narrative discipline and serious improvisation , almost every relationship and personality in the film yields surprises . 
alan and his fellow survivors are idiosyncratic enough to lift the movie above its playwriting 101 premise . 
fresh and raw like a blown-out vein , narc takes a walking-dead , cop-flick subgenre and beats new life into it . 
the premise of jason x is silly but strangely believable . 
it's a wise and powerful tale of race and culture forcefully told , with superb performances throughout . 
an awfully good , achingly human picture . 
the cast comes through even when the movie doesn't . 
you'll laugh at either the obviousness of it all or its stupidity or maybe even its inventiveness , but the point is , you'll laugh . 
definitely worth 95 minutes of your time . 
the film jolts the laughs from the audience--as if by cattle prod . 
a sexy , surprising romance . . . idemoto and kim make a gorgeous pair . . . their scenes brim with sexual possibility and emotional danger . 
toes the fine line between cheese and earnestness remarkably well ; everything is delivered with such conviction that it's hard not to be carried away . 
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 . 
funny , sexy , devastating and incurably romantic . 
triple x is a double agent , and he's one bad dude . when you've got the wildly popular vin diesel in the equation , it adds up to big box office bucks all but guaranteed . 
very well-written and very well-acted . 
a powerful and telling story that examines forbidden love , racial tension , and other issues that are as valid today as they were in the 1950s . 
you emerge dazed , confused as to whether you've seen pornography or documentary . 
it ain't art , by a long shot , but unlike last year's lame musketeer , this dumas adaptation entertains . 
likeable thanks to its cast , its cuisine and its quirky tunes . 
chilling in its objective portrait of dreary , lost twenty-first century america . 
highly recommended as an engrossing story about a horrifying historical event and the elements which contributed to it . 
 . . . there's enough cool fun here to warm the hearts of animation enthusiasts of all ages . 
it manages to squeeze by on angelina jolie's surprising flair for self-deprecating comedy . 
secretary manages a neat trick , bundling the flowers of perversity , comedy and romance into a strangely tempting bouquet of a movie . 
judith and zaza's extended bedroom sequence . . . is so intimate and sensual and funny and psychologically self-revealing that it makes most of what passes for sex in the movies look like cheap hysterics . 
photographed with melancholy richness and eloquently performed yet also decidedly uncinematic . 
a knowing look at female friendship , spiked with raw urban humor . 
as i settled into my world war ii memories , i found myself strangely moved by even the corniest and most hackneyed contrivances . 
the overall effect is awe and affection -- and a strange urge to get on a board and , uh , shred , dude . 
it's that rare family movie -- genuine and sweet without relying on animation or dumb humor . 
the trinity assembly approaches the endeavor with a shocking lack of irony , and george ratliff's documentary , hell house , reflects their earnestness — which makes for a terrifying film . 
confessions may not be a straightforward bio , nor does it offer much in the way of barris' motivations , but the film is an oddly fascinating depiction of an architect of pop culture . 
an intoxicating experience . 
a special kind of movie , this melancholic film noir reminded me a lot of memento . . . 
simple , poignant and leavened with humor , it's a film that affirms the nourishing aspects of love and companionship . 
together , miller , kuras and the actresses make personal velocity into an intricate , intimate and intelligent journey . 
the wonder of mostly martha is the performance of gedeck , who makes martha enormously endearing . 
with notorious c . h . o . cho proves she has the stuff to stand tall with pryor , carlin and murphy . 
less front-loaded and more shapely than the two-hour version released here in 1990 . 
watching war photographer , you come to believe that nachtwey hates the wars he shows and empathizes with the victims he reveals . 
[a] real pleasure in its laid-back way . 
some may choose to interpret the film's end as hopeful or optimistic but i think payne is after something darker . 
though it runs 163 minutes , safe conduct is anything but languorous . it's packed to bursting with incident , and with scores of characters , some fictional , some from history . 
a much better documentary -- more revealing , more emotional and more surprising -- than its pedestrian english title would have you believe . 
notwithstanding my problem with the movie's final half hour , i'm going to recommend secretary , based on the wonderful acting clinic put on by spader and gyllenhaal , and also the unique way shainberg goes about telling what at heart is a sweet little girl-
a well-crafted film that is all the more remarkable because it achieves its emotional power and moments of revelation with restraint and a delicate ambiguity . 
the film has the uncanny ability to right itself precisely when you think it's in danger of going wrong . 
my big fat greek wedding is that rare animal known as 'a perfect family film , ' because it's about family . 
would make an excellent companion piece to the similarly themed 'the french lieutenant's woman . '
 . . . with the gifted pearce on hand to keep things on semi-stable ground dramatically , this retooled machine is ultimately effective enough at achieving the modest , crowd-pleasing goals it sets for itself . 
a movie that's just plain awful but still manages to entertain on a guilty-pleasure , so-bad-it's-funny level . 
a disoriented but occasionally disarming saga packed with moments out of an alice in wonderland adventure , a stalker thriller , and a condensed season of tv's big brother . 
functions as both a revealing look at the collaborative process and a timely , tongue-in-cheek profile of the corporate circus that is the recording industry in the current climate of mergers and downsizing . 
with a confrontational stance , todd solondz takes aim on political correctness and suburban families . 
a mess , but it's a sincere mess . 
this odd , distant portuguese import more or less borrows from bad lieutenant and les vampires , and comes up with a kind of art-house gay porn film . 
for a debut film , skin of man , heart of beast feels unusually assured . 
a photographic marvel of sorts , and it's certainly an invaluable record of that special fishy community . 
it's soulful and unslick , and that's apparently just what [aniston] has always needed to grow into a movie career . 
although olivier assayas' elegantly appointed period drama seems , at times , padded with incident in the way of a too-conscientious adaptation . . . its three-hour running time plays closer to two . 
a jaw-droppingly beautiful work that upends nearly every cliché of japanese animation while delivering a more than satisfactory amount of carnage . 
terry is a sort of geriatric dirty harry , which will please eastwood's loyal fans -- and suits the story , wherein our hero must ride roughshod over incompetent cops to get his man . 
parts seem like they were lifted from terry gilliam's subconscious , pressed through kafka's meat grinder and into buñuel's casings
'like a child with an important message to tell . . . [skins'] faults are easy to forgive because the intentions are lofty . '
a delightful entree in the tradition of food movies . 
an escapist confection that's pure entertainment . 
the ring is worth a look , if you don't demand much more than a few cheap thrills from your halloween entertainment . 
the movie ultimately relies a bit too heavily on grandstanding , emotional , rocky-like moments . . . but it's such a warm and charming package that you'll feel too happy to argue much . 
reassuring , retro uplifter . 
throwing it all away for the fleeting joys of love's brief moment . 
armed with a game supporting cast , from the pitch-perfect forster to the always hilarious meara and levy , like mike shoots and scores , doing its namesake proud . 
a decent-enough nail-biter that stands a good chance of being the big hit franklin needs to stay afloat in hollywood . 
begins like a docu-drama but builds its multi-character story with a flourish . 
one of the most genuinely sweet films to come along in quite some time . 
after an uncertain start , murder hits and generally sustains a higher plateau with bullock's memorable first interrogation of gosling . 
the story ultimately takes hold and grips hard . 
a bit of a downer and a little over-dramatic at times , but this is a beautiful film for people who like their romances to have that french realism . 
an emotionally strong and politically potent piece of cinema . 
enticing and often funny documentary . 
going to this movie is a little like chewing whale blubber - it's an acquired taste that takes time to enjoy , but it's worth it , even if it does take 3 hours to get through . 
a portrait of hell so shattering it's impossible to shake . 
almodovar is an imaginative teacher of emotional intelligence in this engaging film about two men who discover what william james once called 'the gift of tears . '
better than the tepid star trek : insurrection ; falls short of first contact because the villain couldn't pick the lint off borg queen alice krige's cape ; and finishes half a parsec ( a nose ) ahead of generations . 
at times a bit melodramatic and even a little dated ( depending upon where you live ) , ignorant fairies is still quite good-natured and not a bad way to spend an hour or two . 
tense , terrific , sweaty-palmed fun . 
majidi's direction has never been smoother or more confident . 
visually captivating . 
what a bewilderingly brilliant and entertaining movie this is . 
hard , endearing , caring , warm . bring tissues . 
a thriller with an edge -- which is to say that it doesn't follow the stale , standard , connect-the-dots storyline which has become commonplace in movies that explore the seamy underbelly of the criminal world . 
 " me without you " is a probing examination of a female friendship set against a few dynamic decades . 
inherently caustic and oddly whimsical , the film chimes in on the grieving process and strangely draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss . 
though frodo's quest remains unfulfilled , a hardy group of determined new zealanders has proved its creative mettle . 
it's a square , sentimental drama that satisfies , as comfort food often can . 
pure cinematic intoxication , a wildly inventive mixture of comedy and melodrama , tastelessness and swooning elegance . 
ramsay is clearly extraordinarily talented , and based on three short films and two features , here's betting her third feature will be something to behold . 
i was impressed by how many tit-for-tat retaliatory responses the filmmakers allow before pulling the plug on the conspirators and averting an american-russian armageddon . 
a classy , sprightly spin on film . 
fast , frantic and fun , but also soon forgotten
a spiffy animated feature about an unruly adolescent boy who is yearning for adventure and a chance to prove his worth . 
devos and cassel have tremendous chemistry -- their sexual and romantic tension , while never really vocalized , is palpable . 
fulfills the minimum requirement of disney animation . 
a moving , if uneven , success . 
 with one exception , every blighter in this particular south london housing project digs into dysfunction like it's a big , comforting jar of marmite , to be slathered on crackers and served as a feast of bleakness . 
wickedly funny , visually engrossing , never boring , this movie challenges us to think about the ways we consume pop culture . 
there's plenty to impress about e . t . 
a chronicle not only of one man's quest to be president , but of how that man single-handedly turned a plane full of hard-bitten , cynical journalists into what was essentially , by campaign's end , an extended publicity department . 
until it goes off the rails in its final 10 or 15 minutes , wendigo , larry fessenden's spooky new thriller , is a refreshingly smart and newfangled variation on several themes derived from far less sophisticated and knowing horror films . 
[woo's] most resonant film since the killer . 
collateral damage is trash , but it earns extra points by acting as if it weren't . 
a whole lot of fun and funny in the middle , though somewhat less hard-hitting at the start and finish . 
maybe it is formula filmmaking , but there's nothing wrong with that if the film is well-crafted and this one is . 
[fincher's] camera sense and assured pacing make it an above-average thriller . 
the film is insightful about kissinger's background and history . 
an engrossing portrait of a man whose engaging manner and flamboyant style made him a truly larger-than-life character . 
a lot of the credit for the film's winning tone must go to grant , who hasn't lost a bit of the dry humor that first made audiences on both sides of the atlantic love him . 
exploits [headbanger] stereotypes in good fun , while adding a bit of heart and unsettling subject matter . 
a journey that is as difficult for the audience to take as it is for the protagonist -- yet it's potentially just as rewarding . 
ratliff's two previous titles , plutonium circus and purgatory county show his penchant for wry , contentious configurations , and this film is part of that delicate canon . 
from its invitingly upbeat overture to its pathos-filled but ultimately life-affirming finale , martin is a masterfully conducted work . 
passions , obsessions , and loneliest dark spots are pushed to their most virtuous limits , lending the narrative an unusually surreal tone . 
a comedy that swings and jostles to the rhythms of life . 
at times auto focus feels so distant you might as well be watching it through a telescope . yet in its own aloof , unreachable way it's so fascinating you won't be able to look away for a second . 
if you're part of her targeted audience , you'll cheer . otherwise , maybe . 
as animation increasingly emphasizes the computer and the cool , this is a film that takes a stand in favor of tradition and warmth . 
blade ii merges bits and pieces from fighting games , wire fu , horror movies , mystery , james bond , wrestling , sci-fi and anime into one big bloody stew . 
instead of hitting the audience over the head with a moral , schrader relies on subtle ironies and visual devices to convey point of view . 
k-19 will not go down in the annals of cinema as one of the great submarine stories , but it is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia . 
contrived as this may sound , mr . rose's updating works surprisingly well . 
a glib but bouncy bit of sixties-style slickness in which the hero might wind up caught but the audience gets pure escapism . 
lavishly , exhilaratingly tasteless . 
you don't need to be a hip-hop fan to appreciate scratch , and that's the mark of a documentary that works . 
between bursts of automatic gunfire , the story offers a trenchant critique of capitalism . 
combines improbable melodrama ( gored bullfighters , comatose ballerinas ) with subtly kinky bedside vigils and sensational denouements , and yet at the end , we are undeniably touched . 
while the story's undeniably hard to follow , iwai's gorgeous visuals seduce . 
if you can get past the taboo subject matter , it will be well worth your time . 
a lovely film . . . elegant , witty and beneath a prim exterior unabashedly romantic . . . hugely enjoyable in its own right though not really faithful to its source's complexity . 
scooby doo is surely everything its fans are hoping it will be , and in that sense is a movie that deserves recommendation . 
[a] devastatingly powerful and astonishingly vivid holocaust drama . 
a solid cast , assured direction and complete lack of modern day irony . 
these characters are so well established that the gang feels comfortable with taking insane liberties and doing the goofiest stuff out of left field , and i'm all for that . 
a sun-drenched masterpiece , part parlor game , part psychological case study , part droll social satire . 
worth a look as a curiosity . 
you watch for that sense of openness , the little surprises . 
director peter kosminsky gives these women a forum to demonstrate their acting 'chops' and they take full advantage . 
auto focus is not your standard hollywood bio-pic . schrader aims to present an unflinching look at one man's downfall , brought about by his lack of self-awareness . 
the bourne identity shouldn't be half as entertaining as it is , but director doug liman and his colleagues have managed to pack it with enough action to satisfy the boom-bam crowd without a huge sacrifice of character and mood . 
for veggietales fans , this is more appetizing than a side dish of asparagus . if you're not a fan , it might be like trying to eat brussels sprouts . 
remove spider-man the movie from its red herring surroundings and it's apparent that this is one summer film that satisfies . 
the whole mildly pleasant outing -- the r rating is for brief nudity and a grisly corpse -- remains aloft not on its own self-referential hot air , but on the inspired performance of tim allen . 
a gorgeously strange movie , heaven is deeply concerned with morality , but it refuses to spell things out for viewers . 
the emperor's club , ruthless in its own placid way , finds one of our most conservative and hidebound movie-making traditions and gives it new texture , new relevance , new reality . 
it's truly awful and heartbreaking subject matter , but one whose lessons are well worth revisiting as many times as possible . 
though intrepid in exploring an attraction that crosses sexual identity , ozpetek falls short in showing us antonia's true emotions . . . but at the very least , his secret life will leave you thinking . 
there is little question that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out . 
the message of such reflections--intentional or not--is that while no art grows from a vacuum , many artists exist in one . 
gooding is the energetic frontman , and it's hard to resist his enthusiasm , even if the filmmakers come up with nothing original in the way of slapstick sequences . 
the otherwise good-naturedness of mr . deeds , with its embrace of sheer goofiness and cameos of less- than-likely new york celebrities . . . certainly raises the film above anything sandler's been attached to before . 
the movie is brilliant , really . it is philosophy , illustrated through everyday events . 
it's stylishly directed with verve . . . 
gives an intriguing twist to the french coming-of-age genre . 
offers an interesting look at the rapidly changing face of beijing . 
a solid , psychological action film from hong kong . 
see it now , before the inevitable hollywood remake flattens out all its odd , intriguing wrinkles . 
holm does his sly , intricate magic , and iben hjelje is entirely appealing as pumpkin . 
an enjoyable feel-good family comedy regardless of race . 
features what is surely the funniest and most accurate depiction of writer's block ever . 
it would take a complete moron to foul up a screen adaptation of oscar wilde's classic satire . 
it's bright , pristine style and bold colors make it as much fun as reading an oversized picture book before bedtime . 
in the long , dishonorable history of quickie teen-pop exploitation , like mike stands out for its only partly synthetic decency . 
bravo for history rewritten , and for the uncompromising knowledge that the highest power of all is the power of love . 
lead actress gaï , she of the impossibly long limbs and sweetly conspiratorial smile , is a towering siren . 
even if you've seen " stomp " ( the stage show ) , you still have to see this ! 
 . . . a light , yet engrossing piece . lux , now in her eighties , does a great combination act as narrator , jewish grandmother and subject – taking us through a film that is part biography , part entertainment and part history . 
it's a setup so easy it borders on facile , but keeping the film from cheap-shot mediocrity is its crack cast . 
rife with the rueful , wry humor springing out of yiddish culture and language . 
a time machine , a journey back to your childhood , when cares melted away in the dark theater , and films had the ability to mesmerize , astonish and entertain . 
rubbo's humorously tendentious intervention into the who-wrote-shakespeare controversy . 
cantet beautifully illuminates what it means sometimes to be inside looking out , and at other times outside looking in . 
k-19 : the widowmaker is a great yarn . 
it's as raw and action-packed an experience as a ringside seat at a tough-man contest . 
evokes the frustration , the awkwardness and the euphoria of growing up , without relying on the usual tropes . 
a brilliant gag at the expense of those who paid for it and those who pay to see it . 
visually striking and viscerally repellent . 
overcomes its visual hideousness with a sharp script and strong performances . 
touché ! 
astonishingly skillful and moving . . . it could become a historically significant work as well as a masterfully made one . 
beautifully crafted and cooly unsettling . . . recreates the atmosphere of the crime expertly . 
the year 2002 has conjured up more coming-of-age stories than seem possible , but take care of my cat emerges as the very best of them . 
although it doesn't always hang together -- violence and whimsy don't combine easily -- " cherish " certainly isn't dull . 
the sight of the spaceship on the launching pad is duly impressive in imax dimensions , as are shots of the astronauts floating in their cabins . 
time is a beautiful film to watch , an interesting and at times captivating take on loss and loneliness . 
an intriguing look at the french film industry during the german occupation ; its most delightful moments come when various characters express their quirky inner selves . 
a fine documentary can be distinguished from a mediocre one by the better film's ability to make its subject interesting to those who aren't part of its supposed target audience . judging by those standards , 'scratch' is a pretty decent little documentary . 
fubar is very funny , but not always in a laugh-out-loud way . 
a diverse and astonishingly articulate cast of palestinian and israeli children . 
slight but enjoyable documentary . 
'the film is stark , straightforward and deadly . . . an unnatural calm that's occasionally shaken by . . . blasts of rage , and later , violent jealousy . '
an impressive hybrid . 
call this the full monty on ice , the underdog sports team formula redux . 
unfolds in a low-key , organic way that encourages you to accept it as life and go with its flow . 
a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions . 
the heat of the moment prevails . it cooks conduct in a low , smoky and inviting sizzle . 
a riveting story well told . 
denis forges out of the theories of class- based rage and sisterly obsession a razor-sided tuning fork that rings with cultural , sexual and social discord . 
a compelling pre-wwii drama with vivid characters and a warm , moving message . 
the stars may be college kids , but the subject matter is as adult as you can get : the temptations of the flesh are unleashed by a slightly crazed , overtly determined young woman and a one-night swim turns into an ocean of trouble . 
pretty good little movie . 
by turns touching , raucously amusing , uncomfortable , and , yes , even sexy , never again is a welcome and heartwarming addition to the romantic comedy genre . 
worse than 'silence of the lambs' better than 'hannibal'
if you haven't seen the film lately , you may be surprised at the variety of tones in spielberg's work . much of it is funny , but there are also some startling , surrealistic moments . . . 
[the digital effects] reminded me of terry gilliam's rudimentary old monty python cartoons , in which he would cut out figures from drawings and photographs and paste them together . 
an entertaining mix of period drama and flat-out farce that should please history fans . 
canada's arctic light shines bright on this frozen tundra soap opera that breathes extraordinary life into the private existence of the inuit people . 
the fluid motion is astounding on any number of levels -- including the physical demands made on büttner -- and it implies in its wake the intractable , irreversible flow of history . 
alternately hilarious and sad , aggravating and soulful , scathing and joyous . it's a masterpeice . 
the film's messages of tolerance and diversity aren't particularly original , but one can't help but be drawn in by the sympathetic characters . 
though it lacks the utter authority of a genre gem , there's a certain robustness to this engaging mix of love and bloodletting . 
a conventional , but well-crafted film about a historic legal battle in ireland over a man's right to raise his own children . 
yes , it's as good as you remember . in fact , even better . 
hartley adds enough quirky and satirical touches in the screenplay to keep the film entertaining . 
an uncomfortable movie , suffocating and sometimes almost senseless , the grey zone does have a center , though a morbid one . 
this is a harrowing movie about how parents know where all the buttons are , and how to push them . 
a stirring road movie . 
one of the best films i have ever seen , constantly pulling the rug from underneath us , seeing things from new sides , plunging deeper , getting more intense . 
insanely hilarious ! i haven't laughed that hard in years ! 
anyone who's ever suffered under a martinet music instructor has no doubt fantasized about what an unhappy , repressed and twisted personal life their tormentor deserved . these people are really going to love the piano teacher . 
it's a tour de force , written and directed so quietly that it's implosion rather than explosion you fear . 
it may not be history but then again , what if it is ? but it makes for one of the most purely enjoyable and satisfying evenings at the movies i've had in a while . 
if " lilo & stitch " isn't the most edgy piece of disney animation to hit the silver screen , then this first film to use a watercolor background since " dumbo " certainly ranks as the most original in years . 
this may be dover kosashvili's feature directing debut , but it looks an awful lot like life -- gritty , awkward and ironic . 
this ready-made midnight movie probably won't stand the cold light of day , but under the right conditions , it's goofy ( if not entirely wholesome ) fun . 
see scratch for the history , see scratch for the music , see scratch for a lesson in scratching , but , most of all , see it for the passion . 
 . . . " bowling for columbine " remains a disquieting and thought-provoking film . . . 
even though it is infused with the sensibility of a video director , it doesn't make for completely empty entertainment
but even with the two-wrongs-make-a-right chemistry between jolie and burns . . . this otherwise appealing picture loses its soul to screenwriting for dummies conformity . 
talk to her is so darned assured , we have absolutely no idea who the main characters are until the film is well under way -- and yet it's hard to stop watching . 
star/producer salma hayek and director julie taymor have infused frida with a visual style unique and inherent to the titular character's paintings and in the process created a masterful work of art of their own . 
a tasty masala . 
a truly wonderful tale combined with stunning animation . 
a low-key labor of love that strikes a very resonant chord . 
an average kid-empowerment fantasy with slightly above-average brains . 
confessions isn't always coherent , but it's sharply comic and surprisingly touching , so hold the gong . 
while guzmán frustratingly refuses to give pinochet's crimes a political context , his distance from the material is mostly admirable . 
 . . . a story , an old and scary one , about the monsters we make , and the vengeance they take . 
a sentimental but entirely irresistible portrait of three aging sisters . 
white oleander may leave you rolling your eyes in the dark , but that doesn't mean you won't like looking at it . 
in painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people , the movie exalts the marxian dream of honest working folk , with little to show for their labor , living harmoniously , joined in song . 
the most brilliant work in this genre since the 1984 uncut version of sergio leone's flawed but staggering once upon a time in america . 
it looks closely , insightfully at fragile , complex relationships . 
not a bad choice here , assuming that . . . the air-conditioning in the theater is working properly . 
a fine effort , an interesting topic , some intriguing characters and a sad ending . certainly the big finish wasn't something galinsky and hawley could have planned for . . . but part of being a good documentarian is being there when the rope snaps . 
it must be the end of the world : the best film so far this year is a franchise sequel starring wesley snipes . 
there are moments of hilarity to be had . 
refreshing . 
a hypnotic portrait of this sad , compulsive life . 
[while the last metro] was more melodramatic , confined to a single theater company and its strategies and deceptions , while tavernier is more concerned with the entire period of history . 
one of the best films of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes of tenderness , loss , discontent , and yearning . 
return to never land is reliable , standard disney animated fare , with enough creative energy and wit to entertain all ages . 
michael moore's latest documentary about america's thirst for violence is his best film yet . . . 
suffice to say that after seeing this movie in imax form , you'll be more acquainted with the tiniest details of tom hanks' face than his wife is . 
like a tarantino movie with heart , alias betty is richly detailed , deftly executed and utterly absorbing . 
marvelously entertaining and deliriously joyous documentary . 
a brisk , reverent , and subtly different sequel . 
a movie i loved on first sight and , even more important , love in remembrance . 
'divertida , enternecedora , universal y profundamente sincera , es una de las mejores comedias románticas en mucho tiempo . una verdadera delicia . '
deserves a place of honor next to nanook as a landmark in film history . 
murderous maids pulls no punches in its depiction of the lives of the papin sister and the events that led to their notorious rise to infamy . . . 
this is an undeniably intriguing film from an adventurous young talent who finds his inspiration on the fringes of the american underground . 
the sweetest thing , a romantic comedy with outrageous tendencies , may be a mess in a lot of ways . but it does have one saving grace . a lot of its gags and observations reflect a woman's point-of-view . 
this is lightweight filmmaking , to be sure , but it's pleasant enough -- and oozing with attractive men . 
at its most basic , this cartoon adventure is that wind-in-the-hair exhilarating . 
fans of critics' darling band wilco will marvel at the sometimes murky , always brooding look of i am trying to break your heart . 
the film presents visceral and dangerously honest revelations about the men and machines behind the curtains of our planet . 
[gosling's] combination of explosive physical energy and convincing intelligence helps create a complex , unpredictable character . 
confounding because it solemnly advances a daringly preposterous thesis . acting cannot be acted . 
fulford-wierzbicki . . . deftly captures the wise-beyond-her-years teen . 
a wild ride juiced with enough energy and excitement for at least three films . 
it's a cool event for the whole family . maybe not a classic , but a movie the kids will want to see over and over again . 
featherweight romantic comedy has a few nice twists in a standard plot and the charisma of hugh grant and sandra bullock . 
the movie is not as terrible as the synergistic impulse that created it . 
a typically observant , carefully nuanced and intimate french coming-of-age film that is an encouraging debut feature but has a needlessly downbeat ending that is too heavy for all that has preceded it . 
less an examination of neo-nazism than a probe into the nature of faith itself . 
a moving and weighty depiction of one family's attempts to heal after the death of a child . 
i don't think most of the people who loved the 1989 paradiso will prefer this new version . but i do . 
a zinger-filled crowd-pleaser that open-minded elvis fans ( but by no means all ) will have fun with . 
diggs and lathan are among the chief reasons brown sugar is such a sweet and sexy film . 
entirely suspenseful , extremely well-paced and ultimately . . . dare i say , entertaining ! 
the riveting performances by the incredibly flexible cast make love a joy to behold . 
terrific as nadia , a russian mail-order bride who comes to america speaking not a word of english , it's kidman who holds the film together with a supremely kittenish performance that gradually accumulates more layers . 
with an unflappable air of decadent urbanity , everett remains a perfect wildean actor , and a relaxed firth displays impeccable comic skill . 
the re-release of ron howard's apollo 13 in the imax format proves absolutely that really , really , really good things can come in enormous packages . 
very well written and directed with brutal honesty and respect for its audience . 
wonderful fencing scenes and an exciting plot make this an eminently engrossing film . 
it's pretty linear and only makeup-deep , but bogdanovich ties it together with efficiency and an affection for the period . 
a surprisingly charming and even witty match for the best of hollywood's comic-book adaptations . 
this is a superior horror flick . 
adaptation is simply brilliant . 
smart and alert , thirteen conversations about one thing is a small gem . 
the pleasure of read my lips is like seeing a series of perfect black pearls clicking together to form a string . we're drawn in by the dark luster . 
a haunting tale of murder and mayhem . 
i love the opening scenes of a wintry new york city in 1899 . cinematic poetry showcases the city's old-world charm before machines change nearly everything . 
it's hard to imagine anyone managing to steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb . 
one of the best rock documentaries ever . wilco is a phenomenal band with such an engrossing story that will capture the minds and hearts of many . 
ian holm conquers france as an earthy napoleon
offers big , fat , dumb laughs that may make you hate yourself for giving in . ah , what the hell . 
[sports] admirable energy , full-bodied characterizations and narrative urgency . 
a portrait of an artist . 
directors brett morgen and nanette burstein have put together a bold biographical fantasia . 
the subtitled costume drama is set in a remote african empire before cell phones , guns , and the internal combustion engine , but the politics that thump through it are as timely as tomorrow . 
a tremendous piece of work . 
a delightful , if minor , pastry of a movie . 
while obviously aimed at kids , the country bears . . . should keep parents amused with its low groan-to-guffaw ratio . 
labute masterfully balances both traditional or modern stories together in a manner that one never overwhelms the other . something for everyone . 
irwin is so earnest that it's hard to resist his pleas to spare wildlife and respect their environs . there are far worse messages to teach a young audience , which will probably be perfectly happy with the sloppy slapstick comedy . 
leigh succeeds in delivering a dramatic slap in the face that's simultaneously painful and refreshing . 
not about scares but a mood in which an ominous , pervasive , and unknown threat lurks just below the proceedings and adds an almost constant mindset of suspense . 
'film aficionados cannot help but love cinema paradiso , whether the original version or new director's cut . '
a fascinating glimpse into an insular world that gives the lie to many clichés and showcases a group of dedicated artists . 
it's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads . it's quite another to feel physically caught up in the process . 
contradicts everything we've come to expect from movies nowadays . instead of simply handling conventional material in a conventional way , secretary takes the most unexpected material and handles it in the most unexpected way . 
could i have been more geeked when i heard that apollo 13 was going to be released in imax format ? in a word : no . 
murderous maids has a lot going for it , not least the brilliant performances by testud . . . and parmentier . 
filmmaker stacy peralta has a flashy editing style that doesn't always jell with sean penn's monotone narration , but he respects the material without sentimentalizing it . 
there are a couple of things that elevate " glory " above most of its ilk , most notably the mere presence of duvall . 
it's light on the chills and heavy on the atmospheric weirdness , and there are moments of jaw-droppingly odd behavior -- yet i found it weirdly appealing . 
 ( rises ) above its oh-so-hollywood rejiggering and its conventional direction to give the film a soul and an unabashed sense of good old-fashioned escapism . 
a breezy blend of art , history , esoteric musings and philosophy . 
kids will love its fantasy and adventure , and grownups should appreciate its whimsical humor . 
tsai ming-liang's ghosts are painfully aware of their not-being . 
leaping from one arresting image to another , songs from the second floor has all the enjoyable randomness of a very lively dream and so manages to be compelling , amusing and unsettling at the same time . 
sean penn , you owe nicolas cage an apology . 
the performances are uniformly good . 
she's all-powerful , a voice for a pop-cyber culture that feeds on her bjorkness . 
it's a perfect show of respect to just one of those underrated professionals who deserve but rarely receive it . 
for all its plot twists , and some of them verge on the bizarre as the film winds down , blood work is a strong , character-oriented piece . 
the story line may be 127 years old , but el crimen del padre amaro . . . couldn't be more timely in its despairing vision of corruption within the catholic establishment . 
this in-depth study of important developments of the computer industry should make it required viewing in university computer science departments for years to come . 
it shows us a slice of life that's very different from our own and yet instantly recognizable . 
a wonderfully speculative character study that made up for its rather slow beginning by drawing me into the picture . 
has its share of arresting images . 
leave it to john sayles to take on developers , the chamber of commerce , tourism , historical pageants , and commercialism all in the same movie . . . without neglecting character development for even one minute . 
reign of fire just might go down as one of the all-time great apocalypse movies . 
poignant and funny . 
a smart little indie . 
payne has created a beautiful canvas , and nicholson proves once again that he's the best brush in the business . 
see it . debate it . remember it . 
try as you might to resist , if you've got a place in your heart for smokey robinson , this movie will worm its way there . 
a riveting profile of law enforcement , and a visceral , nasty journey into an urban hades . 
director douglas mcgrath takes on nickleby with all the halfhearted zeal of an 8th grade boy delving into required reading . 
stands as a document of what it felt like to be a new yorker -- or , really , to be a human being -- in the weeks after 9/11 . 
i am not generally a huge fan of cartoons derived from tv shows , but hey arnold ! the movie is clever , offbeat and even gritty enough to overcome my resistance . 
with not a lot of help from the screenplay ( proficient , but singularly cursory ) , [testud] acts with the feral intensity of the young bette davis . 
it's a film that's destined to win a wide summer audience through word-of-mouth reviews and , not far down the line , to find a place among the studio's animated classics . 
slow and ponderous , but rohmer's drama builds to an intense indoor drama about compassion , sacrifice , and christian love in the face of political corruption . 
if you're not totally weirded- out by the notion of cinema as community-therapy spectacle , quitting hits home with disorienting force . 
austin powers for the most part is extremely funny , the first part making up for any flaws that come later . 
while tattoo borrows heavily from both seven and the silence of the lambs , it manages to maintain both a level of sophisticated intrigue and human-scale characters that suck the audience in . 
cho continues her exploration of the outer limits of raunch with considerable brio . 
elvira fans could hardly ask for more . 
a canny , derivative , wildly gruesome portrait of a london sociopath who's the scariest of sadists . 
the movie should be credited with remembering his victims . 
fast-paced and wonderfully edited , the film is extremely thorough . 
a bracing , unblinking work that serves as a painful elegy and sobering cautionary tale . 
hashiguchi uses the situation to evoke a japan bustling atop an undercurrent of loneliness and isolation . 
as if trying to grab a lump of play-doh , the harder that liman tries to squeeze his story , the more details slip out between his fingers . 
my big fat greek wedding is not only the best date movie of the year , it's also a -- dare i say it twice -- delightfully charming -- and totally american , i might add -- slice of comedic bliss . 
few films have captured the chaos of an urban conflagration with such fury , and audience members will leave feeling as shaken as nesbitt's cooper looks when the bullets stop flying . 
another love story in 2002's remarkable procession of sweeping pictures that have reinvigorated the romance genre . 
it's another retelling of alexandre dumas' classic . why ? who knows , but it works under the direction of kevin reynolds . 
[f]rom the performances and the cinematography to the outstanding soundtrack and unconventional narrative , the film is blazingly alive and admirable on many levels . 
shiri is an action film that delivers on the promise of excitement , but it also has a strong dramatic and emotional pull that gradually sneaks up on the audience . 
provides the kind of 'laugh therapy' i need from movie comedies -- offbeat humor , amusing characters , and a happy ending . after seeing 'analyze that , ' i feel better already . 
a penetrating , potent exploration of sanctimony , self-awareness , self-hatred and self-determination . 
this isn't a retooled genre piece , the tale of a guy and his gun , but an amiably idiosyncratic work . 
overall , it's a very entertaining , thought-provoking film with a simple message : god is love . 
it may not be a great piece of filmmaking , but its power comes from its soul's-eye view of how well-meaning patronizing masked a social injustice , at least as represented by this case . 
although mainstream american movies tend to exploit the familiar , every once in a while a film arrives from the margin that gives viewers a chance to learn , to grow , to travel . 
jeong-hyang lee's film is deceptively simple , deeply satisfying . 
the film is a hoot , and is just as good , if not better than much of what's on saturday morning tv especially the pseudo-educational stuff we all can't stand . 
george clooney , in his first directorial effort , presents this utterly ridiculous shaggy dog story as one of the most creative , energetic and original comedies to hit the screen in years . 
even when it drags , we are forced to reflect that its visual imagination is breathtaking
although commentary on nachtwey is provided . . . it's the image that really tells the tale . 
a life-size reenactment of those jack chick cartoon tracts that always ended with some hippie getting tossed into the lake of fire . 
grainy photography mars an otherwise delightful comedy of errors . 
this film is not a love letter for the slain rappers , it's a taunt -a call for justice for two crimes from which many of us have not yet recovered . 
the film is impressive for the sights and sounds of the wondrous beats the world has to offer . 
daily struggles and simple pleasures usurp the preaching message so that , by the time the credits roll across the pat ending , a warm , fuzzy feeling prevails . 
 . . . in no way original , or even all that memorable , but as downtown saturday matinee brain candy , it doesn't disappoint . 
clever and unflinching in its comic barbs , slap her is a small but rewarding comedy that takes aim at contemporary southern adolescence and never lets up . 
cremaster 3 is at once a tough pill to swallow and a minor miracle of self-expression . 
sex is one of those films that aims to confuse . 
compared to his series of spectacular belly flops both on and off the screen , runteldat is something of a triumph . 
[moore's] better at fingering problems than finding solutions . but though he only scratches the surface , at least he provides a strong itch to explore more . 
the powerful success of read my lips with such provocative material shows why , after only three films , director/co-writer jacques audiard , though little known in this country , belongs in the very top rank of french filmmakers . 
in his debut as a director , washington has a sure hand . his work with actors is particularly impressive . 
a generous , inspiring film that unfolds with grace and humor and gradually becomes a testament to faith . 
delivers the sexy razzle-dazzle that everyone , especially movie musical fans , has been hoping for . 
morvern rocks . 
vincent gallo is right at home in this french shocker playing his usual bad boy weirdo role . 
fierce , glaring and unforgettable . 
cletis is playful but highly studied and dependent for its success on a patient viewer . 
like its predecessor , it's no classic , but it provides a reasonably attractive holiday contraption , one that families looking for a clean , kid-friendly outing should investigate . 
campanella gets the tone just right -- funny in the middle of sad in the middle of hopeful . 
either a fascinating study of the relationship between mothers and their children or a disturbing story about sociopaths and their marks . 
 . . . gripping and handsome execution , ( but ) there isn't much about k-19 that's unique or memorable . 
effective in all its aspects , margarita happy hour represents an auspicious feature debut for chaiken . 
the delicious trimmings…arrive early and stay late , filling nearly every minute…with a lighthearted glow , some impudent snickers , and a glorious dose of humankind's liberating ability to triumph over a scrooge or two . 
standing by yourself is haunting . . . [it's] what punk rock music used to be , and what the video medium could use more of : spirit , perception , conviction . 
not the best herzog perhaps , but unmistakably herzog . 
enjoyably fast-moving , hard-hitting documentary . 
rehearsals are frequently more fascinating than the results . last dance , whatever its flaws , fulfills one facet of its mission in making me want to find out whether , in this case , that's true . 
the film's constant mood of melancholy and its unhurried narrative are masterfully controlled . but … in trying to capture the novel's deeper intimate resonances , the film has – ironically - distanced us from the characters . 
this is a stunning film , a one-of-a-kind tour de force . 
[cho's face is] an amazing slapstick instrument , creating a scrapbook of living mug shots . 
it's about as convincing as any other arnie musclefest , but has a little too much resonance with real world events and ultimately comes off as insultingly simplistic . 
while not quite a comedy , the film tackles its relatively serious subject with an open mind and considerable good cheer , and is never less than engaging . 
an extremely funny , ultimately heartbreaking look at life in contemporary china . 
your response to its new sequel , analyze that , may hinge on what you thought of the first film . 
davis is funny , charming and quirky in her feature film acting debut as amy . 
bloody sunday has the grace to call for prevention rather than to place blame , making it one of the best war movies ever made . it's a movie that accomplishes so much that one viewing can't possibly be enough . 
a lively and engaging examination of how similar obsessions can dominate a family . 
in the new release of cinema paradiso , the tale has turned from sweet to bittersweet , and when the tears come during that final , beautiful scene , they finally feel absolutely earned . 
faithful without being forceful , sad without being shrill , " a walk to remember " succeeds through sincerity . 
the film is a masterpiece of nuance and characterization , marred only by an inexplicable , utterly distracting blunder at the very end . 
the film is full of charm . 
the movie is well crafted , and well executed . if you're paying attention , the " big twists " are pretty easy to guess - but that doesn't make the movie any less entertaining . 
one of those unassuming films that sneaks up on you and stays with you long after you have left the theatre . 
 . . . pray doesn't have a passion for the material . he nonetheless appreciates the art and reveals a music scene that transcends culture and race . 
the one-liners are snappy , the situations volatile and the comic opportunities richly rewarded . 
it's anchored by splendid performances from an honored screen veteran and a sparkling newcomer who instantly transform themselves into a believable mother/daughter pair . 
intelligent and moving . 
fathers and sons , and the uneasy bonds between them , rarely have received such a sophisticated and unsentimental treatment on the big screen as they do in this marvelous film . 
this sci-fi techno-sex thriller starts out bizarre and just keeps getting weirder . 
last orders nurtures the multi-layers of its characters , allowing us to remember that life's ultimately a gamble and last orders are to be embraced . it's affecting , amusing , sad and reflective . 
a slight but sweet film . 
el peso de un líquido incoloro , el peso del líquido vital , del amor como elemento de vida , y de muerte . . . 
writer/director walter hill is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable . 
it is a happy , heady jumble of thought and storytelling , an insane comic undertaking that ultimately coheres into a sane and breathtakingly creative film . 
this new time machine is hardly perfect… yet it proves surprisingly serviceable . even at its worst , it's not half-bad . 
almost everyone growing up believes their family must look like " the addams family " to everyone looking in . . . " my big fat greek wedding " comes from the heart . . . 
once folks started hanging out at the barbershop , they never wanted to leave . chances are you won't , either . 
george lucas returns as a visionary with a tale full of nuance and character dimension . 
can be viewed as pure composition and form -- film as music
an extraordinary dramatic experience . 
every individual will see the movie through the prism of his or her own beliefs and prejudices , but the one thing most will take away is the sense that peace is possible . that , in itself , is extraordinary . 
if you can tolerate the redneck-versus-blueblood cliches that the film trades in , sweet home alabama is diverting in the manner of jeff foxworthy's stand-up act . 
it's a treat watching shaw , a british stage icon , melting under the heat of phocion's attentions . 
all in all , an interesting look at the life of the campaign-trail press , especially ones that don't really care for the candidate they're forced to follow . 
narc is a no-bull throwback to 1970s action films . it zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special . 
me without you has a bracing truth that's refreshing after the phoniness of female-bonding pictures like divine secrets of the ya-ya sisterhood . 
it's a strange film , one that was hard for me to warm up to . 
goes a long way on hedonistic gusto . 
the result puts a human face on derrida , and makes one of the great minds of our times interesting and accessible to people who normally couldn't care less . 
the scorpion king is more fun than conan the barbarian . 
if there's one big point to promises , it's that nothing can change while physical and psychological barriers keep the sides from speaking even one word to each other . 
unexpected moments of authentically impulsive humor are the hallmark of this bittersweet , uncommonly sincere movie that portrays the frank humanity of…emotional recovery . 
jacquot has filmed the opera exactly as the libretto directs , ideally capturing the opera's drama and lyricism . 
this is a sincerely crafted picture that deserves to emerge from the traffic jam of holiday movies . 
i liked it because it was so endlessly , grotesquely , inventive . 
audiard successfully maintains suspense on different levels throughout a film that is both gripping and compelling . 
credit director ramsay for taking the sometimes improbable story and making it feel realistic . 
this is dicaprio's best performance in anything ever , and easily the most watchable film of the year . 
witherspoon puts to rest her valley-girl image , but it's dench who really steals the show . 
even when there are lulls , the emotions seem authentic , and the picture is so lovely toward the end . . . you almost don't notice the 129-minute running time . 
while dutifully pulling on heartstrings , directors dean deblois and chris sanders valiantly keep punching up the mix . 
ambitious , unsettling psychodrama that takes full , chilling advantage of its rough-around-the-edges , low-budget constraints . 
eric byler's nuanced pic avoids easy sentiments and explanations . . . 
manages to be wholesome and subversive at the same time . 
when it's not wallowing in hormonal melodrama , " real women have curves " is a sweet , honest , and enjoyable comedy-drama about a young woman who wants many things in life , but fears she'll become her mother before she gets to fulfill her dreams . 
the film runs on a little longer than it needs to -- muccino either doesn't notice when his story ends or just can't tear himself away from the characters -- but it's smooth and professional . 
blithely anachronistic and slyly achronological . 
this starts off with a 1950's doris day feel and it gets very ugly , very fast . the first five minutes will have you talking 'til the end of the year ! 
triumph of love is a very silly movie , but the silliness has a pedigree . 
discursive but oddly riveting documentary . 
the movie has no respect for laws , political correctness or common decency , but it displays something more important : respect for its flawed , crazy people . 
on its own , big trouble could be considered a funny little film . 
an undeniably gorgeous , terminally smitten document of a troubadour , his acolytes , and the triumph of his band . 
this cinema verite speculation on the assassination of john f . kennedy may have been inspired by blair witch , but it takes its techniques into such fresh territory that the film never feels derivative . 
a beautifully observed character piece . 
a coming-of-age movie that hollywood wouldn't have the guts to make . 
it is quite a vision . 
there are laughs aplenty , and , as a bonus , viewers don't have to worry about being subjected to farts , urine , feces , semen , or any of the other foul substances that have overrun modern-day comedies . 
a bittersweet drama about the limbo of grief and how truth-telling can open the door to liberation . 
a strong and confident work which works so well for the first 89 minutes , but ends so horrendously confusing in the final two
salma goes native and she's never been better in this colorful bio-pic of a mexican icon . 
filled with alexandre desplat's haunting and sublime music , the movie completely transfixes the audience . 
as chilling and fascinating as philippe mora's modern hitler-study , snide and prejudice . 
an hour and a half of joyful solo performance . 
strange and beautiful film . 
no worse a film than breaking out , and breaking out was utterly charming . 
parker cannot sustain the buoyant energy level of the film's city beginnings into its country conclusion
' . . . despite lagging near the finish line , the movie runs a good race , one that will have you at the edge of your seat for long stretches . '
 . . . a guiltless film for nice evening out . 
deflated ending aside , there's much to recommend the film . 
it's a treat – a delightful , witty , improbable romantic comedy with a zippy jazzy score… grant and bullock make it look as though they are having so much fun . 
performances all around are tops , with the two leads delivering oscar-caliber performances . 
everything about the quiet american is good , except its timing . 
a savage john waters-like humor that dances on the edge of tastelessness without ever quite falling over . 
at once a testament to the divine calling of education and a demonstration of the painstaking process of imparting knowledge . 
may seriously impair your ability to ever again maintain a straight face while speaking to a highway patrolman . 
it's an interesting effort ( particularly for jfk conspiracy nuts ) , and barry's cold-fish act makes the experience worthwhile . 
they're just a couple of cops in copmovieland , these two , but in narc , they find new routes through a familiar neighborhood . 
brings awareness to an issue often overlooked -- women's depression . 
it's a shame the marvelous first 101 minutes have to be combined with the misconceived final 5 . 
it has a caffeinated , sloppy brilliance , sparkling with ideas you wish had been developed with more care , but animated by an energy that puts the dutiful efforts of more disciplined grade-grubbers to shame . 
you can almost see mendes and company getting together before a single frame had been shot and collectively vowing , 'this is going to be something really good . ' and it is . 
foster and whitaker are especially fine . she is a lioness , protecting her cub , and he a reluctant villain , incapable of controlling his crew . 
undoubtedly the scariest movie ever made about tattoos . 
a movie that will wear you out and make you misty even when you don't want to be . 
not only better than its predecessor , it may rate as the most magical and most fun family fare of this or any recent holiday season . 
though the story . . . is hackneyed , the characters have a freshness and modesty that transcends their predicament . 
although frailty fits into a classic genre , in its script and execution it is a remarkably original work . 
if this movie leaves you cool , it also leaves you intriguingly contemplative . 
the climactic events are so well realized that you may forget all about the original conflict , just like the movie does
a rude black comedy about the catalytic effect a holy fool has upon those around him in the cutthroat world of children's television . 
all comedy is subversive , but this unrelenting bleak insistence on opting out of any opportunity for finding meaning in relationships or work just becomes sad . 
if a horror movie's primary goal is to frighten and disturb , then they works spectacularly well . . . a shiver-inducing , nerve-rattling ride . 
a playful iranian parable about openness , particularly the need for people of diverse political perspectives to get along despite their ideological differences . 
brilliantly written and well-acted , yellow asphalt is an uncompromising film . 
that 'alabama' manages to be pleasant in spite of its predictability and occasional slowness is due primarily to the perkiness of witherspoon ( who is always a joy to watch , even when her material is not first-rate ) . . . 
personal velocity has a no-frills docu-dogma plainness , yet miller lingers on invisible , nearly psychic nuances , leaping into digressions of memory and desire . she boxes these women's souls right open for us . 
a fascinating literary mystery story with multiple strands about the controversy of who really wrote shakespeare's plays . 
throughout , mr . audiard's direction is fluid and quick . 
a dashing and absorbing outing with one of france's most inventive directors . 
it's a fine , old-fashioned-movie movie , which is to say it's unburdened by pretensions to great artistic significance . 
 . . . flat-out amusing , sometimes endearing and often fabulous , with a solid cast , noteworthy characters , delicious dialogue and a wide supply of effective sight gags . 
the trials of henry kissinger is a remarkable piece of filmmaking because you get it . 
nachtwey clears the cynicism right out of you . he makes you realize that deep inside righteousness can be found a tough beauty . 
what it lacks in substance it makes up for in heart . 
robert harmon's less-is-more approach delivers real bump-in -the-night chills -- his greatest triumph is keeping the creepy crawlies hidden in the film's thick shadows . 
genuinely unnerving . 
american and european cinema has amassed a vast holocaust literature , but it is impossible to think of any film more challenging or depressing than the grey zone . 
a compelling film . 
with its hint of an awkward hitchcockian theme in tact , harmon's daunting narrative promotes a reasonable landscape of conflict and pathos to support the scattershot terrorizing tone
in auteil's less dramatic but equally incisive performance , he's a charismatic charmer likely to seduce and conquer . 
the heart of the film is a touching reflection on aging , suffering and the prospect of death . 
will you go ape over this movie ? well , it probably won't have you swinging from the trees hooting it's praises , but it's definitely worth taking a look . 
its director's most substantial feature for some time . 
fontaine's direction , especially her agreeably startling use of close-ups and her grace with a moving camera , creates sheerly cinematic appeal . 
the son of the bride's humour is born out of an engaging storyline , which also isn't embarrassed to make you reach for the tissues . this movie is to be cherished . 
 . . . a visually seductive , unrepentantly trashy take on rice's second installment of her vampire chronicles . 
the story's scope and pageantry are mesmerizing , and mr . day-lewis roars with leonine power . 
p . t . anderson understands the grandness of romance and how love is the great equalizer that can calm us of our daily ills and bring out joys in our lives that we never knew were possible . 
twenty years later , e . t . is still a cinematic touchstone . 
this fascinating experiment plays as more of a poetic than a strict reality , creating an intriguing species of artifice that gives the lady and the duke something of a theatrical air . 
it's virtually impossible to like any of these despicable characters . 
this is mostly well-constructed fluff , which is all it seems intended to be . 
even through its flaws , revolution #9 proves to be a compelling , interestingly told film . 
the best way to describe it is as a cross between paul thomas anderson's magnolia and david lynch's mulholland dr . 
schepisi , aided by a cast that seems to include every top-notch british actor who did not appear in gosford park ( as well as one , ms . mirren , who did ) , has succeeded beyond all expectation . 
lejos del paraíso es al mismo tiempo una fiesta para los ojos y oídos y un movilizador cuadro de personajes enfrentados a sus propios deseos , miedos y prejuicios . 
watching this film , one is left with the inescapable conclusion that hitchens' obsession with kissinger is , at bottom , a sophisticated flower child's desire to purge the world of the tooth and claw of human power . 
there is no denying the power of polanski's film . . . 
the movie is amateurish , but it's a minor treat . 
this charming but slight tale has warmth , wit and interesting characters compassionately portrayed . 
el título no engaña : la película narra una historia donde una mujer enfrentará cierta realidad , y donde el sexo es . . . 
offers a persuasive look at a defeated but defiant nation in flux . 
'interesante y disfrutable trabajo gracias a que prescinde del clásico elemento estadounidense patriotero y manipulador . '
a return to pure disney magic and is enjoyable family fare . 
takes a fresh and absorbing look at a figure whose legacy had begun to bronze . 
a triumph of pure craft and passionate heart . 
gosling creates a staggeringly compelling character , a young man whose sharp intellect is at the very root of his contradictory , self-hating , self-destructive ways . 
witty and often surprising , a dark little morality tale disguised as a romantic comedy . 
even as it pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators , scratch is great fun , full of the kind of energy it's documenting . 
got a david lynch jones ? then you'd do well to check this one out because it's straight up twin peaks action . . . 
astonishing . . . [frames] profound ethical and philosophical questions in the form of dazzling pop entertainment . 
take care is nicely performed by a quintet of actresses , but nonetheless it drags during its 112-minute length . 
it's hard to fairly judge a film like ringu when you've seen the remake first . many of the effective horror elements are dampened through familiarity , [yet] are worthwhile . 
one of the very best movies ever made about the life of moviemaking . 
rarely does such high-profile talent serve such literate material . 
an elegant and sly deadpan comedy . 
the way the roundelay of partners functions , and the interplay within partnerships and among partnerships and the general air of gator-bashing are consistently delightful . 
land , people and narrative flow together in a stark portrait of motherhood deferred and desire explored . 
'blue crush' swims away with the sleeper movie of the summer award . 
you're not merely watching history , you're engulfed by it . 
a chick flick for guys . 
it's mildly entertaining , especially if you find comfort in familiarity . but it's hardly a necessary enterprise . 
the quiet american isn't a bad film , it's just one that could easily wait for your pay per view dollar . 
as home movie gone haywire , it's pretty enjoyable , but as sexual manifesto , i'd rather listen to old tori amos records . 
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 . 
like an episode of mtv's undressed , with 20 times the creativity but without any more substance . . . indulgently entertaining but could have and should have been deeper . 
deliciously slow . 
a sensitive , cultivated treatment of greene's work as well as a remarkably faithful one . 
it's not just a feel-good movie , it's a feel movie . you feel good , you feel sad , you feel pissed off , but in the end , you feel alive - which is what they did . 
it's a piece of handiwork that shows its indie tatters and self-conscious seams in places , but has some quietly moving moments and an intelligent subtlety . 
what makes barbershop so likable , with all its flaws , is that it has none of the pushiness and decibel volume of most contemporary comedies . 
watching these two actors play against each other so intensely , but with restraint , is a treat . 
an example of quiet , confident craftsmanship that tells a sweet , charming tale of intergalactic friendship . 
a meditation on faith and madness , frailty is blood-curdling stuff . 
the production design , score and choreography are simply intoxicating . 
a comedy that is warm , inviting , and surprising . 
so vivid a portrait of a woman consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted rembrandt . 
suspend your disbelief here and now , or you'll be shaking your head all the way to the credits . 
trades run-of-the-mill revulsion for extreme unease . 
 . . . one of the more influential works of the 'korean new wave' . 
implicitly acknowledges and celebrates the glorious chicanery and self-delusion of this most american of businesses , and for that reason it may be the most oddly honest hollywood document of all . 
a beautifully tooled action thriller about love and terrorism in korea . 
director-writer bille august . . . depicts this relationship with economical grace , letting his superb actors convey martin's deterioration and barbara's sadness -- and , occasionally , anger . 
victor rosa is leguizamo's best movie work so far , a subtle and richly internalized performance . 
birthday girl doesn't try to surprise us with plot twists , but rather seems to enjoy its own transparency . 
smart , funny and just honest enough to provide the pleasures of a slightly naughty , just-above-average off- broadway play . 
topics that could make a sailor blush - but lots of laughs . 
michael moore has perfected the art of highly entertaining , self-aggrandizing , politically motivated documentary-making , and he's got as potent a topic as ever here . 
a fine production with splendid singing by angela gheorghiu , ruggero raimondi , and roberto alagna . 
about a boy vividly recalls the cary grant of room for one more , houseboat and father goose in its affectionate depiction of the gentle war between a reluctant , irresponsible man and the kid who latches onto him . 
none of this is meaningful or memorable , but frosting isn't , either , and you wouldn't turn down a big bowl of that , would you ? 
the film is a fierce dance of destruction . its flame-like , roiling black-and-white inspires trembling and gratitude . 
a riveting documentary . 
may lack the pungent bite of its title , but it's an enjoyable trifle nonetheless . 
 . . . manages to fall closer in quality to silence than to the abysmal hannibal . 
you may think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet . 
diane lane works nothing short of a minor miracle in unfaithful . 
takashi miike keeps pushing the envelope : ichi the killer
a fantastic premise anchors this movie , but what it needs is either a more rigid , blair witch-style commitment to its mockumentary format , or a more straightforward , dramatic treatment , with all the grandiosity that that implies . 
exhilarating but blatantly biased . 
much of what we see is horrible but it's also undeniably exceedingly clever . 
it understands , in a way that speaks forcefully enough about the mechanisms of poverty to transcend the rather simplistic filmmaking . 
ramsay succeeds primarily with her typical blend of unsettling atmospherics , delivering a series of abrasive , stylized sequences that burn themselves upon the viewer's memory . 
 . . . a thoughtful what-if for the heart as well as the mind . 
like its bizarre heroine , it irrigates our souls . 
hawn and sarandon form an acting bond that makes the banger sisters a fascinating character study with laughs to spare . 
it's a fun adventure movie for kids ( of all ages ) that like adventure . 
a very capable nailbiter . 
because the genre is well established , what makes the movie fresh is smart writing , skewed characters , and the title performance by kieran culkin . 
 " white oleander , " the movie , is akin to a reader's digest condensed version of the source material . 
it's like going to a house party and watching the host defend himself against a frothing ex-girlfriend . you don't want to call the cops . you want to call domino's . 
what's most refreshing about real women have curves is its unforced comedy-drama and its relaxed , natural-seeming actors . 
the low-key direction is pleasingly emphatic in this properly intense , claustrophobic tale of obsessive love . 
secretary is just too original to be ignored . 
that rare film whose real-life basis is , in fact , so interesting that no embellishment is needed . 
smart and fun , but far more witty than it is wise . 
this isn't a stand up and cheer flick ; it's a sit down and ponder affair . and thanks to kline's superbly nuanced performance , that pondering is highly pleasurable . 
originality ain't on the menu , but there's never a dull moment in the giant spider invasion comic chiller . 
walter hill's undisputed is like a 1940s warner bros . b picture , and i mean that as a compliment . 
this one is not nearly as dreadful as expected . in fact , it's quite fun in places . 
with elements cribbed from lang's metropolis , welles' kane , and eisenstein's potemkin , the true wonder of rintarô's metropolis is the number of lasting images all its own . 
a biopic about crane's life in the classic tradition but evolves into what has become of us all in the era of video . 
the best of the pierce brosnan james bond films to date . 
thanks to a small star with big heart , this family film sequel is plenty of fun for all . 
while the now 72-year-old robert evans been slowed down by a stroke , he has at least one more story to tell : his own . 
it's about individual moments of mood , and an aimlessness that's actually sort of amazing . 
the people in jessica are so recognizable and true that , as in real life , we're never sure how things will work out . 
a tone poem of transgression . 
creeps you out in high style , even if nakata did it better . 
rubbo runs through a remarkable amount of material in the film's short 90 minutes . 
visually engrossing , seldom hammy , honorably mexican and burns its kahlories with conviction . 
this is christmas future for a lot of baby boomers . 
despite a quieter middle section , involving aragorn's dreams of arwen , this is even better than the fellowship . there are scenes of cinematic perfection that steal your heart away . 
spider-man is in the same category as x-men - occasionally brilliant but mostly average , showing signs of potential for the sequels , but not giving us much this time around . 
the obnoxious title character provides the drama that gives added clout to this doc . 
an enjoyable experience . 
anyone who welcomes a dash of the avant-garde fused with their humor should take pleasure in this crazed , joyous romp of a film . 
the fun of the movie is the chance it affords to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad . 
'si bien no logra desarrollarse como un gran drama , tampoco es tan superficial como muchas cintas que pecan de pretenciosas y que resultan totalmente banales . '
saddled with an unwieldy cast of characters and angles , but the payoff is powerful and revelatory . 
it's something of the ultimate scorsese film , with all the stomach-turning violence , colorful new york gang lore and other hallmarks of his personal cinema painted on their largest-ever historical canvas . 
mr . caine and mr . fraser are the whole show here , with their memorable and resourceful performances . 
a frustrating yet deeply watchable melodrama that makes you think it's a tougher picture than it is . 
a giddy and provocative sexual romp that has something to say . 
[russell] makes good b movies ( the mask , the blob ) , and the scorpion king more than ably meets those standards . 
otto-sallies has a real filmmaker's eye . 
this is a smart movie that knows its classical music , knows its freud and knows its sade . 
the film has an infectious enthusiasm and we're touched by the film's conviction that all life centered on that place , that time and that sport . 
beautifully reclaiming the story of carmen and recreating it an in an african idiom . 
the camera soars above the globe in dazzling panoramic shots that make the most of the large-screen format , before swooping down on a string of exotic locales , scooping the whole world up in a joyous communal festival of rhythm . 
a flawed but engrossing thriller . 
demonstrates the unusual power of thoughtful , subjective filmmaking . 
expect no major discoveries , nor any stylish sizzle , but the film sits with square conviction and touching good sense on the experience of its women . 
the success of undercover brother is found in its ability to spoof both black and white stereotypes equally . 
this is the kind of subject matter that could so easily have been fumbled by a lesser filmmaker , but ayres makes the right choices at every turn . 
cox creates a fluid and mesmerizing sequence of images to match the words of nijinsky's diaries . 
what bloody sunday lacks in clarity , it makes up for with a great , fiery passion . 
its adult themes of familial separation and societal betrayal are head and shoulders above much of the director's previous popcorn work . 
director nancy savoca's no-frills record of a show forged in still-raw emotions captures the unsettled tenor of that post 9-11 period far better than a more measured or polished production ever could . 
the film grows on you . and how . 
one thing you have to give them credit for : the message of the movie is consistent with the messages espoused in the company's previous video work . 
halloween : resurrection isn't exactly quality cinema , but it isn't nearly as terrible as it cold have been . 
as banal as the telling may be -- and at times , all my loved ones more than flirts with kitsch -- the tale commands attention . 
romantic comedy and dogme 95 filmmaking may seem odd bedfellows , but they turn out to be delightfully compatible here . 
the most wondrous love story in years , it is a great film . 
some movies suck you in despite their flaws , and heaven is one such beast . 
my wife is an actress works as well as it does because [the leads] are such a companionable couple . 
with spy kids 2 : the island of lost dreams , however , robert rodriguez adorns his family-film plot with an elegance and maturity that even most contemporary adult movies are lacking . 
based on dave barry's popular book of the same name , the movie benefits from having a real writer plot out all of the characters' moves and overlapping story . 
bouquet gives a performance that is masterly . 
a poignant comedy that offers food for thought . 
 . . . a series of tales told with the intricate preciseness of the best short story writing . 
if you're content with a clever pseudo-bio that manages to have a good time as it doles out pieces of the famous director's life , eisenstein delivers . 
this filmed tosca -- not the first , by the way -- is a pretty good job , if it's filmed tosca that you want . i'll stay with the stage versions , however , which bite cleaner , and deeper . 
while the path may be familiar , first-time director denzel washington and a top-notch cast manage to keep things interesting . 
an engaging criminal romp that will have viewers guessing just who's being conned right up to the finale . 
the picture runs a mere 84 minutes , but it's no glance . it's a head-turner -- thoughtfully written , beautifully read and , finally , deeply humanizing . 
it asks nothing of the audience other than to sit back and enjoy a couple of great actors hamming it up . 
it is as uncompromising as it is nonjudgmental , and makes clear that a prostitute can be as lonely and needy as any of the clients . 
'barbershop " is a good-hearted ensemble comedy with a variety of quirky characters and an engaging story . 
a good thriller . 
tully is in many ways the perfect festival film : a calm , self-assured portrait of small town regret , love , duty and friendship that appeals to the storytelling instincts of a slightly more literate filmgoing audience . 
i like this movie a lot . i like that smith , he's not making fun of these people , he's not laughing at them . 
a glorious mess . 
 . . . the implication is kissinger may have decided that when it comes to truncheoning it's better to give than to receive . 
'what's the russian word for wow ! ? '
kiarostami has crafted a deceptively casual ode to children and managed to convey a tiny sense of hope . 
i had more fun watching spy than i had with most of the big summer movies . 
what lee does so marvelously compelling is present brown as a catalyst for the struggle of black manhood in restrictive and chaotic america . . . sketchy but nevertheless gripping portrait of jim brown , a celebrated wonder in the spotlight
murder by numbers' isn't a great movie , but it's a perfectly acceptable widget . 
for those of an indulgent , slightly sunbaked and summery mind , sex and lucia may well prove diverting enough . 
what [denis] accomplishes in his chilling , unnerving film is a double portrait of two young women whose lives were as claustrophic , suffocating and chilly as the attics to which they were inevitably consigned . 
a well-done film of a self-reflexive , philosophical nature . 
texan director george ratliff had unlimited access to families and church meetings , and he delivers fascinating psychological fare . 
the rich performances by friel -- and especially williams , an american actress who becomes fully english -- round out the square edges . 
the new insomnia is a surprisingly faithful remake of its chilly predecessor , and when it does elect to head off in its own direction , it employs changes that fit it well rather than ones that were imposed for the sake of commercial sensibilities . 
a film in a class with spike lee's masterful do the right thing . 
jagger , stoppard and director michael apted . . . deliver a riveting and surprisingly romantic ride . 
greengrass ( working from don mullan's script ) forgoes the larger socio-political picture of the situation in northern ireland in favour of an approach that throws one in the pulsating thick of a truly frightening situation . 
a thought-provoking and often-funny drama about isolation . 
whatever one makes of its political edge , this is beautiful filmmaking from one of french cinema's master craftsmen . 
mama africa pretty much delivers on that promise . it does give you a peek . the main problem being that it's only a peek . 
roman polanski's autobiographical gesture at redemption is better than 'shindler's list' - it is more than merely a holocaust movie . 
a perfectly respectable , perfectly inoffensive , easily forgettable film . 
romanek's themes are every bit as distinctive as his visuals . beyond the cleverness , the weirdness and the pristine camerawork , one hour photo is a sobering meditation on why we take pictures . 
seeing seinfeld at home as he watches his own appearance on letterman with a clinical eye reminds you that the key to stand-up is to always make it look easy , even though the reality is anything but . 
speaks eloquently about the symbiotic relationship between art and life . 
the work of an artist tormented by his heritage , using his storytelling ability to honor the many faceless victims . 
the audacity to view one of shakespeare's better known tragedies as a dark comedy is , by itself , deserving of discussion . 
this is an exercise in chilling style , and twohy films the sub , inside and out , with an eye on preserving a sense of mystery . 
an uncomfortable experience , but one as brave and challenging as you could possibly expect these days from american cinema . 
hailed as a clever exercise in neo-hitchcockianism , this clever and very satisfying picture is more accurately chabrolian . 
funny and also heartwarming without stooping to gooeyness . 
at the film's centre is a precisely layered performance by an actor in his mid-seventies , michel piccoli . 
the viewer takes great pleasure in watching the resourceful molly stay a step ahead of her pursuers . 
with amazing finesse , the film shadows heidi's trip back to vietnam and the city where her mother , mai thi kim , still lives . 
director charles stone iii applies more detail to the film's music than to the story line ; what's best about drumline is its energy . 
a heroic tale of persistence that is sure to win viewers' hearts . 
it's all a rather shapeless good time . . . 
has far more energy , wit and warmth than should be expected from any movie with a " 2 " at the end of its title . 
a little better than sorcerer's stone . 
a chilling movie without oppressive gore . 
a uniquely sensual metaphorical dramatization of sexual obsession that spends a bit too much time on its fairly ludicrous plot . 
if you like peace , you'll like promises . 
be prepared to cling to the edge of your seat , tense with suspense . the ring never lets you off the hook . 
thumbs up to paxton for not falling into the hollywood trap and making a vanity project with nothing new to offer . 
at once disarmingly straightforward and strikingly devious . 
if you like quirky , odd movies and/or the ironic , here's a fun one . 
sensitive ensemble performances and good period reconstruction add up to a moving tragedy with some buoyant human moments . 
it's not the least of afghan tragedies that this noble warlord would be consigned to the dustbin of history . 
it's a lovely , sad dance highlighted by kwan's unique directing style . 
the script by david koepp is perfectly serviceable and because he gives the story some soul . . . he elevates the experience to a more mythic level . 
this is a visually stunning rumination on love , memory , history and the war between art and commerce . 
short-story quaint , touchingly mending a child's pain for his dead mother via communication with an old woman straight out of eudora welty . 
it's always fascinating to watch marker the essayist at work . 
a quiet family drama with a little bit of romance and a dose of darkness . 
the tasteful little revision works wonders , enhancing the cultural and economic subtext , bringing richer meaning to the story's morals . 
kosminsky . . . puts enough salt into the wounds of the tortured and self-conscious material to make it sting . 
one of the greatest films i've ever seen . 
its gentle , touching story creeps into your heart . 
about as big a crowdpleaser as they possibly come . 
bound to appeal to women looking for a howlingly trashy time . 
even these tales of just seven children seem at times too many , although in reality they are not enough . every child's story is what matters . this film can only point the way -- but thank goodness for this signpost . 
a poignant and gently humorous parable that loves its characters and communicates something rather beautiful about human nature . 
real women have curves doesn't offer any easy answers . 
vampire epic succeeds as spooky action-packed trash of the highest order . 
one of the funniest motion pictures of the year , but . . . also one of the most curiously depressing . 
while somewhat less than it might have been , the film is a good one , and you've got to hand it to director george clooney for biting off such a big job the first time out . 
like the chilled breath of oral storytelling frozen onto film . 
a charmer from belgium . 
a wild , endearing , masterful documentary . 
jackie chan movies are a guilty pleasure - he's easy to like and always leaves us laughing . 
brown sugar signals director rick famuyiwa's emergence as an articulate , grown-up voice in african-american cinema . 
with exquisite craftsmanship . . . olivier assayas has fashioned an absorbing look at provincial bourgeois french society . 
it's rare for any movie to be as subtle and touching as the son's room . 
it has a way of seeping into your consciousness , with lingering questions about what the film is really getting at . 
maelstrom is a deliberately unsteady mixture of stylistic elements . 
[leigh] has a true talent for drawing wrenching performances from his actors ( improvised over many months ) and for conveying the way tiny acts of kindness make ordinary life survivable . 
[d]espite its familiar subject matter , ice age is consistently amusing and engrossing . . . 
the ingenious construction ( adapted by david hare from michael cunningham's novel ) constantly flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism
assured , glossy and shot through with brittle desperation . 
the bottom line is the piece works brilliantly . 
it was only a matter of time before some savvy producer saw the potential success inherent in the mixture of bullock bubble and hugh goo . 
it is scott's convincing portrayal of roger the sad cad that really gives the film its oomph . 
while this movie , by necessity , lacks fellowship's heart , two towers outdoes its spectacle . 
meyjes . . . has done his homework and soaked up some jazzy new revisionist theories about the origins of nazi politics and aesthetics . 
para hitler , o mundo era sua tela ; e o horror , seu pincel . e max retrata este fato com elegante abandono , numa triste constatação da realidade histórica . 
aside from rohmer's bold choices regarding point of view , the lady and the duke represents the filmmaker's lifelong concern with formalist experimentation in cinematic art . 
what 'dumb and dumber' would have been without the vulgarity and with an intelligent , life-affirming script . 
 . . . a vivid , thoughtful , unapologetically raw coming-of-age tale full of sex , drugs and rock 'n' roll . 
you wouldn't want to live waydowntown , but it is a hilarious place to visit . 
films are made of little moments . changing lanes tries for more . it doesn't reach them , but the effort is gratefully received . 
when the movie mixes the cornpone and the cosa nostra , it finds a nice rhythm . 
the story is a rather simplistic one : grief drives her , love drives him , and a second chance to find love in the most unlikely place - it struck a chord in me . 
terrific casting and solid execution give all three stories life . 
a hard look at one man's occupational angst and its subsequent reinvention , a terrifying study of bourgeois desperation worthy of claude chabrol . 
neatly constructed thriller . 
[ramsay] visually transforms the dreary expanse of dead-end distaste the characters inhabit into a poem of art , music and metaphor . 
frequent flurries of creative belly laughs and genuinely enthusiastic performances . . . keep the movie slaloming through its hackneyed elements with enjoyable ease . 
at its best , this is grand-scale moviemaking for a larger-than-life figure , an artist who has been awarded mythic status in contemporary culture . 
'possession , ' based on the book by a . s . byatt , demands that labute deal with the subject of love head-on ; trading in his cynicism for reverence and a little wit
the plot of the comeback curlers isn't very interesting actually , but what i like about men with brooms and what is kind of special is how the film knows what's unique and quirky about canadians . 
10 minutes into the film you'll be white-knuckled and unable to look away . 
it's a beautiful film , full of elaborate and twisted characters - and it's also pretty funny . 
could this be the first major studio production shot on video tape instead of film ? 
not since ghostbusters has a film used manhattan's architecture in such a gloriously goofy way . 
as tricky and satisfying as any of david mamet's airless cinematic shell games . 
the universal theme of becoming a better person through love has never been filmed more irresistibly than in 'baran . '
cube's charisma and chemistry compensate for corniness and cliche . 
with lesser talents , high crimes would be entertaining , but forgettable . with freeman and judd , i'll at least remember their characters . 
as a director , paxton is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip . 
the film is filled with humorous observations about the general absurdity of modern life as seen through the eyes outsiders , but deftly manages to avoid many of the condescending stereotypes that so often plague films dealing with the mentally ill . 
daughter from danang sticks with its subjects a little longer and tells a deeper story
a coming-of-age film that avoids the cartoonish clichés and sneering humor of the genre as it provides a fresh view of an old type -- the uncertain girl on the brink of womanhood . 
the faithful will enjoy this sometimes wry adaptation of v . s . naipaul's novel , but newcomers may find themselves stifling a yawn or two during the first hour . 
a distinguished and thoughtful film , marked by acute writing and a host of splendid performances . 
barry convinces us he's a dangerous , secretly unhinged guy who could easily have killed a president because it made him feel powerful . 
takes you by the face , strokes your cheeks and coos beseechingly at you : slow down , shake off your tensions and take this picture at its own breezy , distracted rhythms . 
i don't feel the least bit ashamed in admitting that my enjoyment came at the expense of seeing justice served , even if it's a dish that's best served cold . 
it's a smart , solid , kinetically-charged spy flick worthy of a couple hours of summertime and a bucket of popcorn . nothing overly original , mind you , but solidly entertaining . 
changing lanes is an anomaly for a hollywood movie ; it's a well-written and occasionally challenging social drama that actually has something interesting to say . 
borrows a bit from the classics " wait until dark " and " extremities " . . . but in terms of its style , the movie is in a class by itself . 
because eight legged freaks is partly an homage to them , tarantula and other low- budget b-movie thrillers of the 1950s and '60s , the movie is a silly ( but not sophomoric ) romp through horror and hellish conditions . 
puts a refreshing and comical spin on the all-too-familiar saga of the contemporary single woman . 
if you grew up on scooby -- you'll love this movie . matthew lillard is born to play shaggy ! 
intimate and panoramic . 
though filmed partly in canada , paid in full has clever ways of capturing inner-city life during the reagan years . 
 " spider-man is better than any summer blockbuster we had to endure last summer , and hopefully , sets the tone for a summer of good stuff . if you're a comic fan , you can't miss it . if you're not , you'll still have a good time . " 
exciting documentary . 
this movie has a strong message about never giving up on a loved one , but it's not an easy movie to watch and will probably disturb many who see it . 
the movie is a trove of delights . 
excellent performances from jacqueline bisset and martha plimpton grace this deeply touching melodrama . 
in a summer of clones , harvard man is something rare and riveting : a wild ride that relies on more than special effects . 
while the humor is recognizably plympton , he has actually bothered to construct a real story this time . 
jolting into charleston rhythms , the story has the sizzle of old news that has finally found the right vent ( accurate ? who cares ? ) . 
an overly melodramatic but somewhat insightful french coming-of-age film . . . 
most thrillers send audiences out talking about specific scary scenes or startling moments ; " frailty " leaves us with the terrifying message that the real horror may be waiting for us at home . 
close enough in spirit to its freewheeling trash-cinema roots to be a breath of fresh air . 
skillfully weaves both the elements of the plot and a powerfully evocative mood combining heated sexuality with a haunting sense of malaise . 
damon brings the proper conviction to his role as [jason bourne] . 
for the most part , it works beautifully as a movie without sacrificing the integrity of the opera . 
as played by ryan gosling , danny is a frighteningly fascinating contradiction . 
this is not chabrol's best , but even his lesser works outshine the best some directors can offer . 
despite its flaws , crazy as hell marks an encouraging new direction for la salle . 
you'll end up moved . 
if you ever wondered what it would be like to be smack in the middle of a war zone armed with nothing but a camera , this oscar-nominated documentary takes you there . 
the woodman seems to have directly influenced this girl-meets-girl love story , but even more reassuring is how its makers actually seem to understand what made allen's romantic comedies so pertinent and enduring . 
i loved the look of this film . 
it's the kind of movie that , aside from robert altman , spike lee , the coen brothers and a few others , our moviemakers don't make often enough . 
those with a modicum of patience will find in these characters' foibles a timeless and unique perspective . 
beautiful to watch and holds a certain charm . 
13 conversations may be a bit too enigmatic and overly ambitious to be fully successful , but sprecher and her screenwriting partner and sister , karen sprecher , don't seem ever to run out of ideas . 
the movie is our story as much as it is schmidt's , no matter if it's viewed as a self-reflection or cautionary tale . 
foster breathes life into a roll that could have otherwise been bland and run of the mill . 
quitting offers piercing domestic drama with spikes of sly humor . 
some people want the ol' ball-and-chain and then there are those who just want the ball and chain . 
[barry] gives assassin a disquieting authority . 
it's refreshing to see a romance this smart . 
at its best ( and it does have some very funny sequences ) looking for leonard reminds you just how comically subversive silence can be . 
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 . 
anyone who ever fantasized about space travel but can't afford the $20 million ticket to ride a russian rocket should catch this imax offering . 
 " the turntable is now outselling the electric guitar . . . " 
transforms one of [shakespeare's] deepest tragedies into a smart new comedy . 
an intelligent and deeply felt work about impossible , irrevocable choices and the price of making them . 
it may sound like a mere disease-of- the-week tv movie , but a song for martin is made infinitely more wrenching by the performances of real-life spouses seldahl and wollter . 
sayles is making a statement about the inability of dreams and aspirations to carry forward into the next generation . 
as antonia is assimilated into this newfangled community , the film settles in and becomes compulsively watchable in a guilty-pleasure , daytime-drama sort of fashion . 
every once in a while , a movie will come along that turns me into that annoying specimen of humanity that i usually dread encountering the most - the fanboy
on its own staggeringly unoriginal terms , this gender-bending comedy is generally quite funny . 
it's never dull and always looks good . 
the tonal shifts are jolting , and though wen's messages are profound and thoughtfully delivered , more thorough transitions would have made the film more cohesive . 
chicago pode até ser um filme divertido e cativante ( como é ) , mas acaba representando um passo que vai na direção contrária à evolução dos musicais . 
as commander-in-chief of this film , bigelow demonstrates a breadth of vision and an attention to detail that propels her into the upper echelons of the directing world . 
with wit and empathy to spare , waydowntown acknowledges the silent screams of workaday inertia but stops short of indulging its characters' striving solipsism . 
all of it works smoothly under the direction of spielberg , who does a convincing impersonation here of a director enjoying himself immensely . 
the kind of sweet-and-sour insider movie that film buffs will eat up like so much gelati . 
with 'bowling for columbine , ' michael moore gives us the perfect starting point for a national conversation about guns , violence , and fear . 
one of the year's most weirdly engaging and unpredictable character pieces . 
one of the best inside-show-biz yarns ever . 
none of his actors stand out , but that's less of a problem here than it would be in another film : characterization matters less than atmosphere . 
a terrifically entertaining specimen of spielbergian sci-fi . 
a rare and lightly entertaining look behind the curtain that separates comics from the people laughing in the crowd . 
solondz is so intent on hammering home his message that he forgets to make it entertaining . 
whatever heartwarming scene the impressively discreet filmmakers may have expected to record with their mini dv , they show a remarkable ability to document both sides of this emotional car-wreck . 
it establishes its ominous mood and tension swiftly , and if the suspense never rises to a higher level , it is nevertheless maintained throughout . 
although what time offers tsai's usual style and themes , it has a more colorful , more playful tone than his other films . 
a moving and stark reminder that the casualties of war reach much further than we imagine . 
a thoroughly engaging , surprisingly touching british comedy . 
a sloppy , amusing comedy that proceeds from a stunningly unoriginal premise . 
 . . . a rich and intelligent film that uses its pulpy core conceit to probe questions of attraction and interdependence and how the heart accomodates practical needs . it is an unstinting look at a collaboration between damaged people that may or may not qual
captures that perverse element of the kafkaesque where identity , overnight , is robbed and replaced with a persecuted " other . " 
the actors are simply too good , and the story too intriguing , for technical flaws to get in the way . 
an estrogen opera so intensely feminine that it serves as the antidote ( and cannier doppelganger ) to diesel's xxx flex-a-thon . 
imamura has said that warm water under a red bridge is a poem to the enduring strengths of women . it may also be the best sex comedy about environmental pollution ever made . 
it's a ripper of a yarn and i for one enjoyed the thrill of the chill . naomi watts is terrific as rachel ; her petite frame and vulnerable persona emphasising her plight and isolation . 
a family film that contains some hefty thematic material on time , death , eternity , and what is needed to live a rich and full life . 
with dickens' words and writer-director douglas mcgrath's even-toned direction , a ripping good yarn is told . 
exactly what its title implies : lusty , boisterous and utterly charming . 
the film is darkly funny in its observation of just how much more grueling and time-consuming the illusion of work is than actual work . 
a smart , compelling drama . 
a must-see for fans of thoughtful war films and those interested in the sights and sounds of battle . 
i found myself liking the film , though in this case one man's treasure could prove to be another man's garbage . 
 . . . rogers's mouth never stops shut about the war between the sexes and how to win the battle . 
deliberately and skillfully uses ambiguity to suggest possibilities which imbue the theme with added depth and resonance . 
it's all entertaining enough , but don't look for any hefty anti-establishment message in what is essentially a whip-crack of a buddy movie that ends with a whimper . 
nicholson's understated performance is wonderful . as warren he stumbles in search of all the emotions and life experiences he's neglected over the years . 
despite its old-hat set-up and predictable plot , empire still has enough moments to keep it entertaining . 
another entertaining romp from robert rodriguez . 
it's not a classic spy-action or buddy movie , but it's entertaining enough and worth a look . 
i am more offended by his lack of faith in his audience than by anything on display here . 
a sharp satire of desperation and cinematic deception . 
tsai convincingly paints a specifically urban sense of disassociation here . 
if you can swallow its absurdities and crudities lagaan really is enormously good fun . 
an unorthodox little film noir organized crime story that includes one of the strangest love stories you will ever see . 
a pleasing , often-funny comedy . 
[a] rare movie that makes us re-assess the basis for our lives and evaluate what is truly ours in a world of meaningless activity . 
all three actresses are simply dazzling , particularly balk , who's finally been given a part worthy of her considerable talents . 
an asian neo-realist treasure . 
plummer steals the show without resorting to camp as nicholas' wounded and wounding uncle ralph . it's a great performance and a reminder of dickens' grandeur . 
 . . . less a story than an inexplicable nightmare , right down to the population's shrugging acceptance to each new horror . 
i am highly amused by the idea that we have come to a point in society where it has been deemed important enough to make a film in which someone has to be hired to portray richard dawson . 
a compassionate , moving portrait of an american ( and an america ) always reaching for something just outside his grasp . 
'estupendamente actuada , sumamente emotiva y profundamente humana , es una experiencia fílmica imposible de olvidar'
an original little film about one young woman's education . 
the film is about the relationships rather than about the outcome . and it sees those relationships , including that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen . 
one of those terrific documentaries that collect a bunch of people who are enthusiastic about something and then figures out how to make us share their enthusiasm . 
an instance of an old dog not only learning but inventing a remarkable new trick . 
rodriguez has the chops of a smart-aleck film school brat and the imagination of a big kid . . . 
amy and matthew have a bit of a phony relationship , but the film works in spite of it . 
garcia and the other actors help make the wobbly premise work . 
it's surprisingly decent , particularly for a tenth installment in a series . 
a fascinating , unnerving examination of the delusions of one unstable man . 
good , solid storytelling . 
it's no accident that the accidental spy is a solid action pic that returns the martial arts master to top form . 
leave it to the french to truly capture the terrifying angst of the modern working man without turning the film into a cheap thriller , a dumb comedy or a sappy melodrama . 
the director , mark pellington , does a terrific job conjuring up a sinister , menacing atmosphere though unfortunately all the story gives us is flashing red lights , a rattling noise , and a bump on the head . 
heartwarming here relies less on forced air than on petter næss' delicate , clever direction . . . and a wonderful , imaginative script by axel hellstenius . 
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 . 
steers refreshingly clear of the usual cliches . 
 " home movie " is a sweet treasure and something well worth your time . 
highly recommended viewing for its courage , ideas , technical proficiency and great acting . 
the movie's thesis -- elegant technology for the masses -- is surprisingly refreshing . 
scott delivers a terrific performance in this fascinating portrait of a modern lothario . 
 . . . 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 . 
combines sharp comedy , old-fashioned monster movie atmospherics , and genuine heart to create a film that's not merely about kicking undead * * * , but also about dealing with regret and , ultimately , finding redemption . 
while most films these days are about nothing , this film seems to be about everything that's plaguing the human spirit in a relentlessly globalizing world . 
marshall puts a suspenseful spin on standard horror flick formula . 
as lively an account as seinfeld is deadpan . 
though lan yu lacks a sense of dramatic urgency , the film makes up for it with a pleasing verisimilitude . 
you may leave the theater with more questions than answers , but darned if your toes won't still be tapping . 
take any 12-year-old boy to see this picture , and he'll be your slave for a year . 
but this is not a movie about an inhuman monster ; it's about a very human one . 
at times the guys taps into some powerful emotions , but this kind of material is more effective on stage . it's not a motion picture ; it's an utterly static picture . 
what makes it worth watching is quaid's performance . 
soderbergh skims the fat from the 1972 film . what's left is a rich stew of longing . 
it's the brilliant surfing photography bringing you right inside the massive waves that lifts blue crush into one of the summer's most pleasurable movies . 
more of the same from taiwanese auteur tsai ming-liang , which is good news to anyone who's fallen under the sweet , melancholy spell of this unique director's previous films . 
hatfield and hicks make the oddest of couples , and in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie's political ramifications . 
infidelity drama is nicely shot , well-edited and features a standout performance by diane lane . 
best of all is garcia , who perfectly portrays the desperation of a very insecure man . 
the filmmakers try to balance pointed , often incisive satire and unabashed sweetness , with results that are sometimes bracing , sometimes baffling and quite often , and in unexpected ways , touching . 
a sobering and powerful documentary about the most severe kind of personal loss : rejection by one's mother . 
audacious-impossible yet compelling . . . 
often overwrought and at times positively irritating , the film turns into an engrossing thriller almost in spite of itself . 
humorous and heartfelt , douglas mcgrath's version of 'nicholas nickleby' left me feeling refreshed and hopeful . not many movies have that kind of impact on me these days . 
a poignant lyricism runs through balzac and the little chinese seamstress that transforms this story about love and culture into a cinematic poem . 
this is so de palma . if you love him , you'll like it . if you don't . . . well , skip to another review . 
rouge is less about a superficial midlife crisis than it is about the need to stay in touch with your own skin , at 18 or 80 . 
the moral shrapnel and mental shellshock will linger long after this film has ended . 
o Último suspeito ganha força ao também funcionar em uma esfera adicional : a do drama familiar . 
unfolds in a series of achronological vignettes whose cumulative effect is chilling . 
the movie enters a realm where few non-porn films venture , and comes across as darkly funny , energetic , and surprisingly gentle . 
although the subject matter may still be too close to recent national events , the film works - mostly due to its superior cast of characters . 
it's not going to be everyone's bag of popcorn , but it definitely gives you something to chew on . 
huppert and girardot give performances of exceptional honesty . 
it has that rare quality of being able to creep the living hell out of you . . . 
a cautionary tale about the grandiosity of a college student who sees himself as impervious to a fall . 
an infinitely wittier version of the home alone formula . 
feardotcom's thrills are all cheap , but they mostly work . 
[hayek] throws herself into this dream hispanic role with a teeth-clenching gusto , she strikes a potent chemistry with molina and she gradually makes us believe she is kahlo . 
mr . deeds is , as comedy goes , very silly -- and in the best way . 
you could love safe conduct ( laissez passer ) for being a subtitled french movie that is 170 minutes long . you could hate it for the same reason . 
with we were soldiers , hollywood makes a valiant attempt to tell a story about the vietnam war before the pathology set in . 
'moore is like a progressive bull in a china shop , a provocateur crashing into ideas and special-interest groups as he slaps together his own brand of liberalism . '
broomfield reveals an ironic manifestation of institutionalized slavery that ties a black-owned record label with a white-empowered police force . 
at just over an hour , home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face . 
stuart's poor-me persona needs a whole bunch of snowball's cynicism to cut through the sugar coating . but once the falcon arrives in the skies above manhattan , the adventure is on red alert . 
there is greatness here . 
boasts enough funny dialogue and sharp characterizations to be mildly amusing . 
director juan jose campanella could have turned this into an argentine retread of " iris " or " american beauty , " but instead pulls a little from each film and creates something more beautiful than either of those films . 
if you love the music , and i do , its hard to imagine having more fun watching a documentary . . . 
nakata's technique is to imply terror by suggestion , rather than the overuse of special effects . 
 " 13 conversations about one thing " is an intelligent flick that examines many different ideas from happiness to guilt in an intriguing bit of storytelling . 
satin rouge is not a new , or inventive , journey , but it's encouraging to see a three-dimensional , average , middle-aged woman's experience of self-discovery handled with such sensitivity . 
though an important political documentary , this does not really make the case the kissinger should be tried as a war criminal . 
cannon's confidence and laid-back good spirits are , with the drumming routines , among the film's saving graces . 
in its understanding , often funny way , it tells a story whose restatement is validated by the changing composition of the nation . 
she may not be real , but the laughs are . 
a fiercely clever and subtle film , capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries . 
ok arthouse . the power of this script , and the performances that come with it , is that the whole damned thing didn't get our moral hackles up . 
the movie itself is far from disappointing , offering an original take on courtroom movies , a few nifty twists that are so crucial to the genre and another first-rate performance by top-billed star bruce willis . 
about schmidt is undoubtedly one of the finest films of the year . if you're not deeply touched by this movie , check your pulse . 
the charm of revolution os is rather the way it introduces you to new , fervently held ideas and fanciful thinkers . 
until its final minutes this is a perceptive study of two families in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity . 
offers the flash of rock videos fused with solid performances and eerie atmosphere . 
filmmakers dana janklowicz-mann and amir mann area headed east , far east , in retelling a historically significant , and personal , episode detailing how one international city welcomed tens of thousands of german jewish refugees while the world's democracie
for all its problems . . . the lady and the duke surprisingly manages never to grow boring . . . which proves that rohmer still has a sense of his audience . 
an edifying glimpse into the wit and revolutionary spirit of these performers and their era . 
craig bartlett and director tuck tucker should be commended for illustrating the merits of fighting hard for something that really matters . 
the film is saved from aren't-kids-cute sentimentality by a warmth that isn't faked and a stately sense of composition . 
this is one of the year's best films . 
a fleet-footed and pleasingly upbeat family diversion . 
sorvino is delightful in the central role . she nearly glows with enthusiasm , sensuality and a conniving wit . 
it's immensely ambitious , different than anything that's been done before and amazingly successful in terms of what it's trying to do . 
the story , once it gets rolling , is nothing short of a great one . 
great performances , stylish cinematography and a gritty feel help make gangster no . 1 a worthwhile moviegoing experience . 
 " mr . deeds " is suitable summer entertainment that offers escapism without requiring a great deal of thought . 
it's an ambitious film , and as with all ambitious films , it has some problems . but on the whole , you're gonna like this movie . 
chaiken ably balances real-time rhythms with propulsive incident . 
this is an extraordinary film , not least because it is japanese and yet feels universal . 
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 . 
there's just something about watching a squad of psychopathic underdogs whale the tar out of unsuspecting lawmen that reaches across time and distance . 
a funny and touching film that is gorgeously acted by a british cast to rival gosford park's . 
there's nothing more satisfying during a summer of event movies than a spy thriller like the bourne identity that's packed with just as much intelligence as action . 
i'm not generally a fan of vegetables but this batch is pretty cute . 
qutting may be a flawed film , but it is nothing if not sincere . 
beautifully crafted , engaging filmmaking that should attract upscale audiences hungry for quality and a nostalgic , twisty yarn that will keep them guessing . 
a thoughtful and surprisingly affecting portrait of a screwed-up man who dared to mess with some powerful people , seen through the eyes of the idealistic kid who chooses to champion his ultimately losing cause . 
a cultural wildcard experience : wacky , different , unusual , even nutty . 
daughter from danang reveals that efforts toward closure only open new wounds . it doesn't flinch from its unsettling prognosis , namely , that the legacy of war is a kind of perpetual pain . 
for most of its footage , the new thriller proves that director m . night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo . 
this is not an easy film . but it could be , by its art and heart , a necessary one . 
a very good film sits in the place where a masterpiece should be . 
 . . . spellbinding fun and deliciously exploitative . 
it's jagger's bone-dry , mournfully brittle delivery that gives the film its bittersweet bite . 
impossible as it may sound , this film's heart is even more embracing than monty , if only because it accepts nasty behavior and severe flaws as part of the human condition . 
despite the predictable parent vs . child coming-of-age theme , first-class , natural acting and a look at " the real americans " make this a charmer . 
one of the smarter offerings the horror genre has produced in recent memory , even if it's far tamer than advertised . 
one of recent memory's most thoughtful films about art , ethics , and the cost of moral compromise . 
the film doesn't sustain its initial promise with a jarring , new-agey tone creeping into the second half
blade ii is as estrogen-free as movies get , so you might want to leave your date behind for this one , or she's gonna make you feel like you owe her big-time . 
the message is that even the most unlikely can link together to conquer all kinds of obstacles , whether they be of nature , of man or of one another . 
many a parent and their teen ( or preteen ) kid could bond while watching a walk to remember . so could young romantics out on a date . 
all leather pants & augmented boobs , hawn is hilarious as she tries to resuscitate the fun-loving libertine lost somewhere inside the conservative , handbag-clutching sarandon . 
the members manage to pronounce kok exactly as you think they might , thus giving the cast ample opportunity to use that term as often as possible . it's very beavis and butthead , yet always seems to elicit a chuckle . 
while this gentle and affecting melodrama will have luvvies in raptures , it's far too slight and introspective to appeal to anything wider than a niche audience . 
chicago offers much colorful eye candy , including the spectacle of gere in his dancing shoes , hoofing and crooning with the best of them . 
a difficult but worthy film that bites off more than it can chew by linking the massacre of armenians in 1915 with some difficult relationships in the present . 
by and large this is mr . kilmer's movie , and it's his strongest performance since the doors . 
some of the most ravaging , gut-wrenching , frightening war scenes since " saving private ryan " have been recreated by john woo in this little-known story of native americans and their role in the second great war . 
a charming but slight comedy . 
henry bean's thoughtful screenplay provides no easy answers , but offers a compelling investigation of faith versus intellect
a great cast and a wonderful but sometimes confusing flashback movie about growing up in a dysfunctional family . 
playing a role of almost bergmanesque intensity . . . bisset is both convincing and radiant . 
a smart , provocative drama that does the nearly impossible : it gets under the skin of a man we only know as an evil , monstrous lunatic . 
an alternately fascinating and frustrating documentary . 
griffin & co . manage to be spectacularly outrageous . 
nair's cast is so large it's altman-esque , but she deftly spins the multiple stories in a vibrant and intoxicating fashion . 
the movie plays up the cartoon's more obvious strength of snazziness while neglecting its less conspicuous writing strength . 
poignant japanese epic about adolescent anomie and heartbreak . 
we've seen it all before in one form or another , but director hoffman , with great help from kevin kline , makes us care about this latest reincarnation of the world's greatest teacher . 
secretary is not a movie about fetishism . it is a movie about passion . 
even though it's common knowledge that park and his founding partner , yong kang , lost kozmo in the end , you can't help but get caught up in the thrill of the company's astonishing growth . 
although some viewers will not be able to stomach so much tongue-in-cheek weirdness , those who do will have found a cult favorite to enjoy for a lifetime . 
what could have easily become a cold , calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking . 
a delightful surprise because despite all the backstage drama , this is a movie that tells stories that work -- is charming , is moving , is funny and looks professional . 
the imax screen enhances the personal touch of manual animation . 
does an impressive job of relating the complicated history of the war and of filling in the background . 
it's all about anakin . . . and the lustrous polished visuals rich in color and creativity and , of course , special effect . 
lacks the inspiration of the original and has a bloated plot that stretches the running time about 10 minutes past a child's interest and an adult's patience . but it also has many of the things that made the first one charming . 
it's funny , touching , dramatically forceful , and beautifully shot . 
its rawness and vitality give it considerable punch . 
a live-wire film that never loses its ability to shock and amaze . 
the year's greatest adventure , and jackson's limited but enthusiastic adaptation has made literature literal without killing its soul -- a feat any thinking person is bound to appreciate . 
it's fairly solid--not to mention well edited so that it certainly doesn't feel like a film that strays past the two and a half mark . 
brims with passion : for words , for its eccentric , accident-prone characters , and for the crazy things that keep people going in this crazy life . 
it's secondary to american psycho but still has claws enough to get inside you and stay there for a couple of hours . 
the hours , a delicately crafted film , is an impressive achievement in spite of a river of sadness that pours into every frame . 
fudges fact and fancy with such confidence that we feel as if we're seeing something purer than the real thing . 
this is unusual , food-for-thought cinema that's as entertaining as it is instructive . 
with an expressive face reminiscent of gong li and a vivid personality like zhang ziyi's , dong stakes out the emotional heart of happy . 
nohe's documentary about the event is sympathetic without being gullible : he isn't blind to the silliness , but also captures moments of spontaneous creativity and authentic co-operative interaction . 
it may not be as cutting , as witty or as true as back in the glory days of weekend and two or three things i know about her , but who else engaged in filmmaking today is so cognizant of the cultural and moral issues involved in the process ? 
secret ballot is a funny , puzzling movie ambiguous enough to be engaging and oddly moving . 
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 . 
it's got some pretentious eye-rolling moments and it didn't entirely grab me , but there's stuff here to like . 
birthday girl walks a tricky tightrope between being wickedly funny and just plain wicked . 
a muted freak-out
the enjoyable undercover brother , a zany mix of saturday night live-style parody , '70s blaxploitation films and goofball action comedy gone wild , dishes out a ton of laughs that everyone can enjoy . 
brings an irresistible blend of warmth and humor and a consistent embracing humanity in the face of life's harshness . 
jackson is always watchable . 
to the degree that ivans xtc . works , it's thanks to huston's revelatory performance . 
a wild ride of a movie that keeps throwing fastballs . 
confessions is without a doubt a memorable directorial debut from king hunk . 
weird , vulgar comedy that's definitely an acquired taste . 
a . . . cynical and serious look at teenage boys doing what they do best - being teenagers . 
the film is a very good viewing alternative for young women . 
australian filmmaker david flatman uses the huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them . 
a dazzling dream of a documentary . 
a keep-'em-guessing plot and an affectionate take on its screwed-up characters . 
moving and vibrant . 
brave and sweetly rendered love story . 
the film proves unrelentingly grim -- and equally engrossing . 
a hallmark film in an increasingly important film industry and worth the look . 
the last kiss will probably never achieve the popularity of my big fat greek wedding , but its provocative central wedding sequence has far more impact . 
if you like blood , guts and crazy beasts stalking men with guns though . . . you will likely enjoy this monster . 
the difference between cho and most comics is that her confidence in her material is merited . 
sad to say -- it accurately reflects the rage and alienation that fuels the self-destructiveness of many young people . 
there is a strong directorial stamp on every frame of this stylish film that is able to visualize schizophrenia but is still confident enough to step back and look at the sick character with a sane eye . 
'anyone with a passion for cinema , and indeed sex , should see it as soon as possible . '
seeks to transcend its genre with a curiously stylized , quasi-shakespearean portrait of pure misogynist evil . 
mordantly funny and intimately knowing . . . 
what makes the movie special is its utter sincerity . 
fast and funny , an action cartoon that's suspenseful enough for older kids but not too scary for the school-age crowd . 
one of those rare films that come by once in a while with flawless amounts of acting , direction , story and pace . 
the aaa of action , xxx is a blast of adrenalin , rated eee for excitement . and vin diesel is the man . 
earnest , unsubtle and hollywood-predictable , green dragon is still a deeply moving effort to put a human face on the travail of thousands of vietnamese . 
an ambitious movie that , like shiner's organizing of the big fight , pulls off enough of its effects to make up for the ones that don't come off . 
nair and writer laura cahill dare to build a movie around some flawed but rather unexceptional women , emerging with a fine character study that's short on plot but rich in the tiny revelations of real life . 
the film's unhurried pace is actually one of its strengths . entirely appropriately , the tale unfolds like a lazy summer afternoon and concludes with the crisp clarity of a fall dawn . 
despite its floating narrative , this is a remarkably accessible and haunting film . 
vibrantly colored and beautifully designed , metropolis is a feast for the eyes . 
sweetly sexy , funny and touching . 
 . . . while dark water isn't a complete wash ( no pun intended ) , watched side-by-side with ringu , it ultimately comes off as a pale successor . 
is truth stranger than fiction ? in [screenwriter] charlie kaufman's world , truth and fiction are equally strange , and his for the taking . 
for decades we've marveled at disney's rendering of water , snow , flames and shadows in a hand-drawn animated world . prepare to marvel again . 
a witty , low-key romantic comedy . 
more good than great but freeman and judd make it work . 
if you're looking for a smart , nuanced look at de sade and what might have happened at picpus , sade is your film . 
could have been crisper and punchier , but it's likely to please audiences who like movies that demand four hankies . 
together writer-director danny verete's three tales comprise a powerful and reasonably fulfilling gestalt . 
bursting through the constraints of its source , this is one adapted- from-television movie that actually looks as if it belongs on the big screen . 
 . . . quite endearing . 
its almost too-spectacular coastal setting distracts slightly from an eccentric and good-naturedly aimless story . 
in other words , it's just another sports drama/character study . yet this one makes up for in heart what it lacks in outright newness . plus , like i already mentioned . . . it's robert duvall ! c'mon ! 
this story of a determined woman's courage to find her husband in a war zone offers winning performances and some effecting moments . 
like shrek , spirit's visual imagination reminds you of why animation is such a perfect medium for children , because of the way it allows the mind to enter and accept another world . 
a modestly made but profoundly moving documentary . 
it irritates and saddens me that martin lawrence's latest vehicle can explode obnoxiously into 2 , 500 screens while something of bubba ho-tep's clearly evident quality may end up languishing on a shelf somewhere . 
not everything in this ambitious comic escapade works , but coppola , along with his sister , sofia , is a real filmmaker . it must be in the genes . 
the performers are so spot on , it is hard to conceive anyone else in their roles . 
this slight premise . . . works because of the ideal casting of the masterful british actor ian holm as the aged napoleon . 
hashiguchi covers this territory with wit and originality , suggesting that with his fourth feature -- the first to be released in the u . s . -- a major director is emerging in world cinema . 
although the film boils down to a lightweight story about matchmaking , the characters make italian for beginners worth the journey
the dragons are the real stars of reign of fire and you won't be disappointed . 
kudos to the most enchanting film of the year . 
it works well enough , since the thrills pop up frequently , and the dispatching of the cast is as often imaginative as it is gory . 
colorful and deceptively buoyant until it suddenly pulls the rug out from under you , burkinabe filmmaker dani kouyate's reworking of a folk story whose roots go back to 7th-century oral traditions is also a pointed political allegory . 
it's a powerful though flawed movie , guaranteed to put a lump in your throat while reaffirming washington as possibly the best actor working in movies today . 
director paul cox's unorthodox , abstract approach to visualizing nijinsky's diaries is both stimulating and demanding . 
for 95 often hilarious minutes , [cho] riffs on the diciness of colonics , on straight versus gay personal ads , on how men would act if they had periods , and on the perils of a certain outré sexual practice . 
most of the things that made the original men in black such a pleasure are still there . 
mostly honest , this somber picture reveals itself slowly , intelligently , artfully . 
best enjoyed as a work of fiction inspired by real-life events . those seeking a definitive account of eisenstein's life would do better elsewhere . 
[westbrook] makes a wonderful subject for the camera . 
a film that's flawed and brilliant in equal measure . 
even if invincible is not quite the career peak that the pianist is for roman polanski , it demonstrates that werner herzog can still leave us with a sense of wonder at the diverse , marvelously twisted shapes history has taken . 
ultimately too repellent to fully endear itself to american art house audiences , but it is notable for its stylistic austerity and forcefulness . 
hardly a film that comes along every day . 
harmless fun . 
a wild ride with eight boarders from venice beach that was a deserved co-winner of the audience award for documentaries at the sundance film festival . 
the film's only missteps come from the script's insistence on providing deep emotional motivation for each and every one of abagnale's antics . 
a sweet , tender sermon about a 12-year-old welsh boy more curious about god than girls , who learns that believing in something does matter . 
the film belongs to the marvelous verdu , a sexy slip of an earth mother who mourns her tragedies in private and embraces life in public
more intimate than spectacular , e . t . is carried less by wow factors than by its funny , moving yarn that holds up well after two decades . 
for once , a movie does not proclaim the truth about two love-struck somebodies , but permits them time and space to convince us of that all on their own . 
if you're burnt out on it's a wonderful life marathons and bored with a christmas carol , it might just be the movie you're looking for . it depends on how well flatulence gags fit into your holiday concept . 
moonlight mile doesn't quite go the distance but the cast is impressive and they all give life to these broken characters who are trying to make their way through this tragedy . 
it is an indelible epic american story about two families , one black and one white , facing change in both their inner and outer lives . 
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 . 
quite simply , a joy to watch and--especially--to listen to . 
a flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds . 
the filmmakers wisely decided to let crocodile hunter steve irwin do what he does best , and fashion a story around him . 
a winning and wildly fascinating work . 
we do get the distinct impression that this franchise is drawing to a close . 
worth catching for griffiths' warm and winning central performance . 
the tone errs on the shrill side , tempered by a soft southern gentility that speaks of beauty , grace and a closet full of skeletons . 
an interesting psychological game of cat-and-mouse , three-dimensional characters and believable performances all add up to a satisfying crime drama . 
a meatier deeper beginning and/or ending would have easily tipped this film into the " a " range , as is , it's a very very strong " b+ . " i love the robust middle of this picture . 
the power of shanghai ghetto , a documentary by dana janklowicz-mann and amir mann , rests in the voices of men and women , now in their 70s , who lived there in the 1940s . 
maintains your interest until the end and even leaves you with a few lingering animated thoughts . 
there is a beautiful , aching sadness to it all . paul cox needed to show it . it is up to you to decide if you need to see it . 
if divine secrets of the ya-ya sisterhood suffers from a ploddingly melodramatic structure , it comes to life in the performances . 
if you ignore the cliches and concentrate on city by the sea's interpersonal drama , it ain't half-bad . 
alternates between deadpan comedy and heartbreaking loneliness and isn't afraid to provoke introspection in both its characters and its audience . 
there aren't too many films that can be as simultaneously funny , offbeat and heartwarming ( without a thick shmear of the goo , at least ) , but " elling " manages to do all three quite well , making it one of the year's most enjoyable releases . 
reign of fire is hardly the most original fantasy film ever made -- beyond road warrior , it owes enormous debts to aliens and every previous dragon drama -- but that barely makes it any less entertaining . 
an earnest , roughshod document , it serves as a workable primer for the region's recent history , and would make a terrific 10th-grade learning tool . 
samuel beckett applied to the iranian voting process . 
the bard as black comedy -- willie would have loved it . 
another trumpet blast that there may be a new mexican cinema a-bornin' . 
' . . . the film's considered approach to its subject matter is too calm and thoughtful for agitprop , and the thinness of its characterizations makes it a failure as straight drama . '
tadpole may be one of the most appealing movies ever made about an otherwise appalling , and downright creepy , subject -- a teenage boy in love with his stepmother . 
this is a story that zings all the way through with originality , humour and pathos . 
as underwater ghost stories go , below casts its spooky net out into the atlantic ocean and spits it back , grizzled and charred , somewhere northwest of the bermuda triangle . 
it is a challenging film , if not always a narratively cohesive one . 
trapped won't score points for political correctness , but it may cause parents a few sleepless hours -- a sign of its effectiveness . 
a rock-solid gangster movie with a fair amount of suspense , intriguing characters and bizarre bank robberies , plus a heavy dose of father-and-son dynamics . 
it's incredible the number of stories the holocaust has generated . just when you think that every possible angle has been exhausted by documentarians , another new film emerges with yet another remarkable yet shockingly little-known perspective . 
as they used to say in the 1950s sci-fi movies , signs is a tribute to shyamalan's gifts , which are such that we'll keep watching the skies for his next project . 
there's no conversion effort , much of the writing is genuinely witty and both stars are appealing enough to probably have a good shot at a hollywood career , if they want one . 
like a skillful fisher , the director uses the last act to reel in the audience since its poignancy hooks us completely . 
a film with contemporary political resonance illustrated by a winning family story . 
kids five and up will be delighted with the fast , funny , and even touching story . parents may even find that it goes by quickly , because it has some of the funniest jokes of any movie this year , including those intended for adults . 
an unsettling , memorable cinematic experience that does its predecessors proud . 
maid in manhattan might not look so appealing on third or fourth viewing down the road . . . but as a high concept vehicle for two bright stars of the moment who can rise to fans' lofty expectations , the movie passes inspection . 
much of all about lily chou-chou is mesmerizing : some of its plaintiveness could make you weep . 
ferrara's strongest and most touching movie of recent years . 
spielberg's first real masterpiece , it deserved all the hearts it won -- and wins still , 20 years later . 
the screenwriters dig themselves in deeper every time they toss logic and science into what is essentially a " dungeons and dragons " fantasy with modern military weaponry . . . 
more than simply a portrait of early extreme sports , this peek into the 1970s skateboard revolution is a skateboard film as social anthropology . . . 
what i saw , i enjoyed . 
good-naturedly cornball sequel . 
the level of acting elevates the material above pat inspirational status and gives it a sturdiness and solidity that we've long associated with washington the actor . 
a deft , delightful mix of sulky teen drama and overcoming-obstacles sports-movie triumph . 
daringly perceptive , taut , piercing and feisty , biggie and tupac is undeniably subversive and involving in its bold presentation . 
delivers more than its fair share of saucy hilarity . 
a fairly enjoyable mixture of longest yard . . . and the 1999 guy ritchie caper lock stock and two smoking barrels . 
happily , some things are immune to the folly of changing taste and attitude . for proof of that on the cinematic front , look no further than this 20th anniversary edition of the film that spielberg calls , retrospectively , his most personal work yet . 
hugely entertaining from start to finish , featuring a fall from grace that still leaves shockwaves , it will gratify anyone who has ever suspected hollywood of being overrun by corrupt and hedonistic weasels . 
it's not like having a real film of nijinsky , but at least it's better than that eponymous 1980 biopic that used soap in the places where the mysteries lingered . 
it's probably worth catching solely on its visual merits . if only it had the story to match . 
like other great documentaries . . . this goes after one truth ( the ford administration's complicity in tearing 'orphans' from their mothers ) and stumbles upon others even more compelling . 
 . . . only bond can save us from the latest eccentric , super-wealthy megalomaniac bent on world domination and destruction . 
the first half bursts with a goofy energy previous disney films only used for a few minutes here and there . 
it's quite diverting nonsense . 
an old-fashioned scary movie , one that relies on lingering terror punctuated by sudden shocks and not constant bloodshed punctuated by flying guts . 
for all the wit and hoopla , festival in cannes offers rare insight into the structure of relationships . 
what makes how i killed my father compelling , besides its terrific performances , is fontaine's willingness to wander into the dark areas of parent-child relationships without flinching . 
renner ? s face is chillingly unemotive , yet he communicates a great deal in his performance . see it for his performance if nothing else . 
 . . . the kind of entertainment that parents love to have their kids see . 
it's a fine , focused piece of work that reopens an interesting controversy and never succumbs to sensationalism . 
its engaging simplicity is driven by appealing leads . 
swimming is above all about a young woman's face , and by casting an actress whose face projects that woman's doubts and yearnings , it succeeds . 
a respectable venture on its own terms , lacking the broader vision that has seen certain trek films . . . cross over to a more mainstream audience . 
it's weird , wonderful , and not necessarily for kids . 
an elegant film with often surprising twists and an intermingling of naiveté and sophistication . 
blessed with two fine , nuanced lead performances . 
while this has the making of melodrama , the filmmaker cuts against this natural grain , producing a work that's more interested in asking questions than in answering them . 
as a girl-meets-girl romantic comedy , kissing jessica steinis quirky , charming and often hilarious . yet it's not quite the genre-busting film it's been hyped to be because it plays everything too safe . 
you don't need to know your ice-t's from your cool-j's to realize that as far as these shootings are concerned , something is rotten in the state of california . 
turturro is fabulously funny and over the top as a 'very sneaky' butler who excels in the art of impossible disappearing/reappearing acts
meant for star wars fans . it is there to give them a good time . 
from a deceptively simple premise , this deeply moving french drama develops a startling story that works both as a detailed personal portrait and as a rather frightening examination of modern times . 
simply and eloquently articulates the tangled feelings of particular new yorkers deeply touched by an unprecedented tragedy . 
provides a very moving and revelatory footnote to the holocaust . 
terrific performances , great to look at , and funny . a little uneven to be the cat's meow , but it's good enough to be the purr . 
it's a compelling and horrifying story , and the laramie project is worthwhile for reminding us that this sort of thing does , in fact , still happen in america . 
i like it . there is a freedom to watching stunts that are this crude , this fast-paced and this insane . 
that rare documentary that incorporates so much of human experience -- drama , conflict , tears and surprise -- that it transcends the normal divisions between fiction and nonfiction film . 
that rare movie that works on any number of levels -- as a film of magic and whimsy for children , a heartfelt romance for teenagers and a compelling argument about death , both pro and con , for adults . 
it's both degrading and strangely liberating to see people working so hard at leading lives of sexy intrigue , only to be revealed by the dispassionate gantz brothers as ordinary , pasty lumpen . 
a sharp and quick documentary that is funny and pithy , while illuminating an era of theatrical comedy that , while past , really isn't . 
the script is smart , not cloying . 
the film does a solid job of slowly , steadily building up to the climactic burst of violence . 
fred schepisi's tale of four englishmen facing the prospect of their own mortality views youthful affluence not as a lost ideal but a starting point . 
the directive to protect the code at all costs also begins to blur as the importance of the man and the code merge
overall , cletis tout is a winning comedy that excites the imagination and tickles the funny bone . 
easily one of the best and most exciting movies of the year . 
the script manages the rare trick of seeming at once both refreshingly different and reassuringly familiar . 
an engaging , formulaic sports drama that carries a charge of genuine excitement . 
insomnia is one of the year's best films and pacino gives one of his most daring , and complicated , performances . 
like vardalos and corbett , who play their roles with vibrant charm , the film , directed by joel zwick , is heartfelt and hilarious in ways you can't fake . 
i don't know if frailty will turn bill paxton into an a-list director , but he can rest contentedly with the knowledge that he's made at least one damn fine horror movie . 
despite its flaws . . . belinsky is still able to create an engaging story that keeps you guessing at almost every turn . 
each punch seen through prison bars , the fights become not so much a struggle of man vs . man as brother-man vs . the man . 
the evocative imagery and gentle , lapping rhythms of this film are infectious -- it gets under our skin and draws us in long before the plot kicks into gear . 
like the best of godard's movies . . . it is visually ravishing , penetrating , impenetrable . 
horns and halos benefits from serendipity but also reminds us of our own responsibility to question what is told as the truth . 
oddly compelling . 
[has] an immediacy and an intimacy that sucks you in and dares you not to believe it's all true . 
it treats ana's journey with honesty that is tragically rare in the depiction of young women in film . 
captivates as it shows excess in business and pleasure , allowing us to find the small , human moments , and leaving off with a grand whimper . 
a refreshingly realistic , affectation-free coming-of-age tale . 
how good this film might be , depends if you believe that the shocking conclusion is too much of a plunge or not . 
great fun both for sports aficionados and for ordinary louts whose idea of exercise is climbing the steps of a stadium-seat megaplex . 
features one of the most affecting depictions of a love affair ever committed to film . 
to honestly address the flaws inherent in how medical aid is made available to american workers , a more balanced or fair portrayal of both sides will be needed . 
one of the best movies of the year . 
the usual movie rah-rah , pleasantly and predictably delivered in low-key style by director michael apted and writer tom stoppard . 
a superlative b movie -- funny , sexy , and rousing . 
those prone to indignation need not apply ; those susceptible to blue hilarity , step right up . 
witless but watchable . 
like mike isn't going to make box office money that makes michael jordan jealous , but it has some cute moments , funny scenes , and hits the target audience ( young bow wow fans ) - with nothing but net . 
[dong] makes a valiant effort to understand everyone's point of view , and he does such a good job of it that family fundamentals gets you riled up . 
the trick when watching godard is to catch the pitch of his poetics , savor the pleasure of his sounds and images , and ponder the historical , philosophical , and ethical issues that intersect with them . 
at its best , which occurs often , michael moore's bowling for columbine rekindles the muckraking , soul-searching spirit of the 'are we a sick society ? ' journalism of the 1960s . 
a modestly surprising movie . 
a headline-fresh thriller set among orthodox jews on the west bank , joseph cedar's time of favor manages not only to find a compelling dramatic means of addressing a complex situation , it does so without compromising that complexity . 
there's a spontaneity to the chateau , a sense of light-heartedness , that makes it attractive throughout . 
the first tunisian film i have ever seen , and it's also probably the most good-hearted yet sensual entertainment i'm likely to see all year . 
like any good romance , son of the bride , proves it's never too late to learn . 
[kline's] utterly convincing -- and deeply appealing -- as a noble teacher who embraces a strict moral code , and as a flawed human being who can't quite live up to it . 
the film , while not exactly assured in its execution , is notable for its sheer audacity and openness . 
a thoroughly enjoyable , heartfelt coming-of-age comedy . 
feeling like a dope has rarely been more fun than it is in nine queens . 
leigh makes these lives count . and he allows a gawky actor like spall -- who could too easily become comic relief in any other film -- to reveal his impressively delicate range . 
a lot of fun , with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers . 
promises is one film that's truly deserving of its oscar nomination . 
what bubbles up out of john c . walsh's pipe dream is the distinct and very welcome sense of watching intelligent people making a movie they might actually want to watch . 
if reno is to the left of liberal on the political spectrum , her tough , funny , rather chaotic show isn't subversive so much as it is nit-picky about the hypocrisies of our time . 
beautiful , angry and sad , with a curious sick poetry , as if the marquis de sade had gone in for pastel landscapes . 
ms . hutchins is talented enough and charismatic enough to make us care about zelda's ultimate fate . 
monte cristo smartly emphasizes the well-wrought story and omits needless chase scenes and swordfights as the revenge unfolds . 
a mesmerizing cinematic poem from the first frame to the last . 
[it's] a clever thriller with enough unexpected twists to keep our interest . 
an undeniably moving film to experience , and ultimately that's what makes it worth a recommendation . 
nicole kidman evolved from star to superstar some time over the past year , which means that birthday girl is the kind of quirkily appealing minor movie she might not make for a while . 
vividly conveys the shadow side of the 30-year friendship between two english women . 
the story has some nice twists but the ending and some of the back-story is a little tired . the performances are all solid ; it merely lacks originality to make it a great movie . 
manages to please its intended audience -- children -- without placing their parents in a coma-like state . 
mr . deeds is sure to give you a lot of laughs in this simple , sweet and romantic comedy . 
when you think you've figured out bielinsky's great game , that's when you're in the most trouble : he's the con , and you're just the mark . 
a strong first act and absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man . 
driven by a fantastic dual performance from ian holm . . . the film is funny , insightfully human and a delightful lark for history buffs . 
a well-put-together piece of urban satire . 
it's the sweet cinderella story that " pretty woman " wanted to be . 
it will make you think twice about what might be going on inside each trailer park you drive past -- even if it chiefly inspires you to drive a little faster . 
what doesn't this film have that an impressionable kid couldn't stand to hear ? 
what saves it . . . and makes it one of the better video-game-based flicks , is that the film acknowledges upfront that the plot makes no sense , such that the lack of linearity is the point of emotional and moral departure for protagonist alice . 
a deeply felt and vividly detailed story about newcomers in a strange new world . 
it's a visual delight and a decent popcorn adventure , as long as you don't try to look too deep into the story
it's a feel-good movie about which you can actually feel good . 
a full experience , a love story and a murder mystery that expands into a meditation on the deep deceptions of innocence . 
visually , 'santa clause 2' is wondrously creative . 
the powerpuff girls arrive on the big screen with their super-powers , their super-simple animation and their super-dooper-adorability intact . 
[raimi's] matured quite a bit with spider-man , even though it's one of the most plain white toast comic book films you'll ever see . 
a new film from bill plympton , the animation master , is always welcome . 
a devastating indictment of unbridled greed and materalism . 
what makes the film special is the refreshingly unhibited enthusiasm that the people , in spite of clearly evident poverty and hardship , bring to their music . 
the film has a kind of hard , cold effect . 
the gags are often a stitch . 
the asylum material is gripping , as are the scenes of jia with his family . 
a bonanza of wacky sight gags , outlandish color schemes , and corny visual puns that can be appreciated equally as an abstract frank tashlin comedy and as a playful recapitulation of the artist's career . 
one can't deny its seriousness and quality . 
good performances and a realistic , non-exploitive approach make paid in full worth seeing . 
this engrossing , characteristically complex tom clancy thriller is shifty in the manner in which it addresses current terrorism anxieties and sidesteps them at the same time . 
ryan gosling is , in a word , brilliant as the conflicted daniel . 
 . . . somehow manages to escape the shackles of its own clichés to be the best espionage picture to come out in weeks . 
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 . 
takes a simple premise and carries it to unexpected heights . 
with few respites , marshall keeps the energy humming , and his edits , unlike those in moulin rouge , are crisp and purposeful without overdoing it . 
its metaphors are opaque enough to avoid didacticism , and the film succeeds as an emotionally accessible , almost mystical work . 
provides a satisfactory overview of the bizarre world of extreme athletes as several daredevils express their own views . 
inventive , fun , intoxicatingly sexy , violent , self-indulgent and maddening . 
hard to resist . 
comedian , like its subjects , delivers the goods and audiences will have a fun , no-frills ride . 
a naturally funny film , home movie makes you crave chris smith's next movie . 
pipe dream does have its charms . the leads are natural and lovely , the pace is serene , the humor wry and sprightly . 
those who want to be jolted out of their gourd should drop everything and run to ichi . 
a bittersweet contemporary comedy about benevolent deception , which , while it may not rival the filmmaker's period pieces , is still very much worth seeing . 
 . . . enthusiastically invokes the percussion rhythm , the brass soul and the sense of fierce competition that helps make great marching bands half the fun of college football games . 
sheds light on a subject few are familiar with , and makes you care about music you may not have heard before . 
despite the film's bizarre developments , hoffman keeps us riveted with every painful nuance , unexpected flashes of dark comedy and the character's gripping humanity . 
to get at the root psychology of this film would require many sessions on the couch of dr . freud . 
great over-the-top moviemaking if you're in a slap-happy mood . 
viveka seldahl and sven wollter will touch you to the core in a film you will never forget -- that you should never forget . 
the magic ( and original running time ) of ace japanimator hayao miyazaki's spirited away survives intact in bv's re-voiced version . 
from the dull , surreal ache of mortal awareness emerges a radiant character portrait . 
captures the raw comic energy of one of our most flamboyant female comics . 
it's not particularly subtle . . . however , it still manages to build to a terrifying , if obvious , conclusion . 
the auteur's ear for the way fears and slights are telegraphed in the most blithe exchanges gives the film its lingering tug . 
bolstered by exceptional performances and a clear-eyed take on the economics of dealing and the pathology of ghetto fabulousness . 
this enthralling documentary . . . is at once playful and haunting , an in-depth portrait of an iconoclastic artist who was fundamentally unknowable even to his closest friends . 
some remarkable achival film about how shanghai ( of all places ) served jews who escaped the holocaust . 
in a movie full of surprises , the biggest is that secret ballot is a comedy , both gentle and biting . 
the urban landscapes are detailed down to the signs on the kiosks , and the color palette , with lots of somber blues and pinks , is dreamy and evocative . 
a manically generous christmas vaudeville . 
tony gayton's script doesn't give us anything we haven't seen before , but director d . j . caruso's grimy visual veneer and kilmer's absorbing performance increase the gravitational pull considerably . 
a psychic journey deep into the very fabric of iranian . . . life . 
it's a smartly directed , grown-up film of ideas . 
a true-blue delight . 
while puerile men dominate the story , the women shine . 
unlike lots of hollywood fluff , this has layered , well-developed characters and some surprises . 
for a film that's being advertised as a comedy , sweet home alabama isn't as funny as you'd hoped . for a film that's being advertised as a comedy , sweet home alabama isn't as funny as you'd hoped . 
vera has created a provocative , absorbing drama that reveals the curse of a self-hatred instilled by rigid social mores . 
a french film with a more down-home flavor . 
a fun ride . 
depending upon your reaction to this movie , you may never again be able to look at a red felt sharpie pen without disgust , a thrill , or the giggles . 
while bollywood/hollywood will undoubtedly provide its keenest pleasures to those familiar with bombay musicals , it also has plenty for those ( like me ) who aren't . 
there are times when you wish that the movie had worked a little harder to conceal its contrivances , but brown sugar turns out to be a sweet and enjoyable fantasy . 
fontaine masterfully creates a portrait of two strong men in conflict , inextricably entwined through family history , each seeing himself in the other , neither liking what he sees . 
one fantastic ( and educational ) documentary . 
as janice , eileen walsh , an engaging , wide-eyed actress whose teeth are a little too big for her mouth , infuses the movie with much of its slender , glinting charm . 
sure , it's contrived and predictable , but its performances are so well tuned that the film comes off winningly , even though it's never as solid as you want it to be . 
dong shows how intolerance has the power to deform families , then tear them apart . 
the chateau belongs to rudd , whose portrait of a therapy-dependent flakeball spouting french malapropisms . . . is a nonstop hoot . 
the cast , collectively a successful example of the lovable-loser protagonist , shows deft comic timing . 
it trusts the story it sets out to tell . 
i couldn't recommend this film more . 
as a good old-fashioned adventure for kids , spirit : stallion of the cimarron is a winner . 
an effective portrait of a life in stasis -- of the power of inertia to arrest development in a dead-end existence . 
succeeds as a well-made evocation of a subculture . 
 . . . an interesting slice of history . 
me no lika da accents so good , but i thoroughly enjoyed the love story . scott baio is turning in some delightful work on indie projects . 
it's an experience in understanding a unique culture that is presented with universal appeal . 
what's surprising is how well it holds up in an era in which computer-generated images are the norm . 
brings together some of the biggest names in japanese anime , with impressive results . 
wonder , hope and magic can never escape the heart of the boy when the right movie comes along , especially if it begins with the name of star wars
a flick about our infantilized culture that isn't entirely infantile . 
an exceptionally acted , quietly affecting cop drama . 
sensual , funny and , in the end , very touching . 
angel presents events partly from the perspective of aurelie and christelle , and infuses the film with the sensibility of a particularly nightmarish fairytale . 
who needs mind-bending drugs when they can see this , the final part of the 'qatsi' trilogy , directed by godfrey reggio , with music by philip glass ? 
[a] smarter and much funnier version of the old police academy flicks . 
proof once again that if the filmmakers just follow the books , they can't go wrong . better effects , better acting and a hilarious kenneth branagh . an excellent sequel . 
both a grand tour through 300 hundred years of russian cultural identity and a stunning technical achievement . 
just how these families interact may surprise you . 
allen se atreve a atacar , a atacarse y nos ofrece gags que van de la sonrisa a la risa de larga duración
proves that some movie formulas don't need messing with -- like the big-bug movie . 
a surprisingly funny movie . 
this new movie version of the alexandre dumas classic is the stuff of high romance , brought off with considerable wit . 
like all of egoyan's work , ararat is fiercely intelligent and uncommonly ambitious . 
if a big musical number like 'praise the lord , he's the god of second chances' doesn't put you off , this will be an enjoyable choice for younger kids . 
 . . . fuses the events of her life with the imagery in her paintings so vividly that the artist's work may take on a striking new significance for anyone who sees the film . 
[clooney's] debut can be accused of being a bit undisciplined , but it has a tremendous , offbeat sense of style and humor that suggests he was influenced by some of the filmmakers who have directed him , especially the coen brothers and steven soderbergh . 
although made on a shoestring and unevenly acted , conjures a lynch-like vision of the rotting underbelly of middle america . 
a piquant meditation on the things that prevent people from reaching happiness . 
a timely look back at civil disobedience , anti-war movements and the power of strong voices . 
rifkin's references are . . . impeccable throughout . 
i'd be lying if i said my ribcage didn't ache by the end of kung pow . 
more than their unique residences , home movie is about the people who live in them , who have carved their own comfortable niche in the world and have been kind enough to share it . 
the movie is ingenious fun . see it . 
the combination of lightness and strictness in this instance gives italian for beginners an amiable aimlessness that keeps it from seeming predictably formulaic . 
una película oscura , precisa , por momentos grandiosa y casi siempre conmovedora . 
the script is smart and dark - hallelujah for small favors . 
an intelligent , multi-layered and profoundly humanist ( not to mention gently political ) meditation on the values of knowledge , education , and the affects of cultural and geographical displacement . 
mr . polanski is in his element here : alone , abandoned , but still consoled by his art , which is more than he has ever revealed before about the source of his spiritual survival . 
spectacular in every sense of the word , even if you don' t know an orc from a uruk-hai . 
this isn't exactly profound cinema , but it's good-natured and sometimes quite funny . 
this is a finely written , superbly acted offbeat thriller . 
tres greek writer and star nia vardalos has crafted here a worldly-wise and very funny script . 
os problemas têm início a partir do momento em que saímos do cinema e começamos a pensar sobre o que acabamos de ver . É então que sinais realmente desaponta . 
a tasty appetizer that leaves you wanting more . 
it gives devastating testimony to both people's capacity for evil and their heroic capacity for good . 
the film reminds me of a vastly improved germanic version of my big fat greek wedding -- with better characters , some genuine quirkiness and at least a measure of style . the difference is that i truly enjoyed most of mostly martha while i ne
morton deserves an oscar nomination . 
a colorful , vibrant introduction to a universal human impulse , lushly photographed and beautifully recorded . 
the screenplay never lets us forget that bourne was once an amoral assassin just like the ones who are pursuing him . . . there is never really a true " us " versus " them " . 
the history is fascinating ; the action is dazzling . they just don't work in concert . 
for those in search of something different , wendigo is a genuinely bone-chilling tale . 
a lovely film for the holiday season . 
it remains to be seen whether statham can move beyond the crime-land action genre , but then again , who says he has to ? 
a hypnotic cyber hymn and a cruel story of youth culture . 
it's a fairy tale that comes from a renowned indian film culture that allows americans to finally revel in its splendor . 
at once subtle and visceral , the film never succumbs to the trap of the maudlin or tearful , offering instead with its unflinching gaze a measure of faith in the future . 
the performances of the children , untrained in acting , have an honesty and dignity that breaks your heart . 
despite its lavish formalism and intellectual austerity , the film manages to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity . 
this rush to profits has created a predictably efficient piece of business notable largely for its overwhelming creepiness , for an eagerness to create images you wish you hadn't seen , which , in this day and age , is of course the point . 
adams , with four scriptwriters , takes care with the characters , who are so believable that you feel what they feel . 
a completely spooky piece of business that gets under your skin and , some plot blips aside , stays there for the duration . 
superbly photographed and staged by mendes with a series of riveting set pieces the likes of which mainstream audiences have rarely seen . 
the ensemble cast turns in a collectively stellar performance , and the writing is tight and truthful , full of funny situations and honest observations . 
not quite as miraculous as its dreamworks makers would have you believe , but it more than adequately fills the eyes and stirs the emotions . 
a properly spooky film about the power of spirits to influence us whether we believe in them or not . 
the lightest , most breezy movie steven spielberg has made in more than a decade . and the positive change in tone here seems to have recharged him . 
like edward norton in american history x , ryan gosling ( murder by numbers ) delivers a magnetic performance . 
this is a very funny , heartwarming film . it has fun with the quirks of family life , but it also treats the subject with fondness and respect . 
rarely , indeed almost never , is such high-wattage brainpower coupled with pitch-perfect acting and an exquisite , unfakable sense of cinema . 
the leanest and meanest of solondz's misanthropic comedies . 
a dark , quirky road movie that constantly defies expectation . 
there are some movies that hit you from the first scene and you know it's going to be a trip . igby goes down is one of those movies . 
often messy and frustrating , but very pleasing at its best moments , it's very much like life itself . 
a burst of color , music , and dance that only the most practiced curmudgeon could fail to crack a smile at . 
an energetic , violent movie with a momentum that never lets up . 
lasker's canny , meditative script distances sex and love , as byron and luther . . . realize they can't get no satisfaction without the latter . 
it turns out to be smarter and more diabolical than you could have guessed at the beginning . 
cage makes an unusual but pleasantly haunting debut behind the camera . 
noyce has worked wonders with the material . 
it's mostly a pleasure to watch . and the reason for that is a self-aware , often self-mocking , intelligence . 
the chateau is a risky venture that never quite goes where you expect and often surprises you with unexpected comedy . 
a very well-meaning movie , and it will stand in future years as an eloquent memorial to the world trade center tragedy . 
there aren't many conclusive answers in the film , but there is an interesting story of pointed personalities , courage , tragedy and the little guys vs . the big guys . 
vividly demonstrates that the director of such hollywood blockbusters as patriot games can still turn out a small , personal film with an emotional wallop . 
a four star performance from kevin kline who unfortunately works with a two star script . 
dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean . 
if you don't flee , you might be seduced . if you don't laugh , flee . 
payne constructs a hilarious ode to middle america and middle age with this unlikely odyssey , featuring a pathetic , endearing hero who is all too human . 
koury frighteningly and honestly exposes one teenager's uncomfortable class resentment and , in turn , his self-inflicted retaliation . 
the santa clause 2 proves itself a more streamlined and thought out encounter than the original could ever have hoped to be . 
now as a former gong show addict , i'll admit it , my only complaint is that we didn't get more re-creations of all those famous moments from the show . 
succeeds where its recent predecessor miserably fails because it demands that you suffer the dreadfulness of war from both sides . 
the first bond movie in ages that isn't fake fun . 
this odd , poetic road movie , spiked by jolts of pop music , pretty much takes place in morton's ever-watchful gaze -- and it's a tribute to the actress , and to her inventive director , that the journey is such a mesmerizing one . 
a film centering on a traditional indian wedding in contemporary new delhi may not sound like specialized fare , but mira nair's film is an absolute delight for all audiences . 
a weird and wonderful comedy . 
the movie should jolt you out of your seat a couple of times , give you a few laughs , and leave you feeling like it was worth your seven bucks , even though it does turn out to be a bit of a cheat in the end . 
has the capability of effecting change and inspiring hope . 
a first-class , thoroughly involving b movie that effectively combines two surefire , beloved genres -- the prison flick and the fight film . 
labute's careful handling makes the material seem genuine rather than pandering . 
in between all the emotional seesawing , it's hard to figure the depth of these two literary figures , and even the times in which they lived . but they fascinate in their recklessness . 
death to smoochy is often very funny , but what's even more remarkable is the integrity of devito's misanthropic vision . 
a beautiful , entertaining two hours . you get the idea , though , that kapur intended the film to be more than that . 
a wonderful , ghastly film . 
amid the new populist comedies that underscore the importance of family tradition and familial community , one would be hard-pressed to find a movie with a bigger , fatter heart than barbershop . 
parris' performance is credible and remarkably mature . 
'enigma' is the kind of engaging historical drama that hollywood appears to have given up on in favor of sentimental war movies in the vein of 'we were soldiers . '
munch's screenplay is tenderly observant of his characters . he watches them as they float within the seas of their personalities . his scenes are short and often unexpected . 
it grabs you in the dark and shakes you vigorously for its duration . 
leigh's daring here is that without once denying the hardscrabble lives of people on the economic fringes of margaret thatcher's ruinous legacy , he insists on the importance of those moments when people can connect and express their love for each other . 
hashiguchi vividly captures the way young japanese live now , chafing against their culture's manic mix of millennial brusqueness and undying , traditional politesse . 
uneven but a lot of fun . 
i know that i'll never listen to marvin gaye or the supremes the same way again
the two leads , nearly perfect in their roles , bring a heart and reality that buoy the film , and at times , elevate it to a superior crime movie . 
not as good as the full monty , but a really strong second effort . 
whenever it threatens to get bogged down in earnest dramaturgy , a stirring visual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us . if horses could fly , this is surely what they'd look like . 
unfolds as one of the most politically audacious films of recent decades from any country , but especially from france . 
this real-life hollywood fairy-tale is more engaging than the usual fantasies hollywood produces . 
the graphic carnage and re-creation of war-torn croatia is uncomfortably timely , relevant , and sickeningly real . 
left me with the visceral sensation of longing , lasting traces of charlotte's web of desire and desperation . 
the characters are more deeply thought through than in most 'right-thinking' films . 
crammed with incident , and bristles with passion and energy . 
it's fun , splashy and entertainingly nasty . 
a simple tale of an unlikely friendship , but thanks to the gorgeous locales and exceptional lead performances , it has considerable charm . 
it might be 'easier' to watch on video at home , but that shouldn't stop die-hard french film connoisseurs from going out and enjoying the big-screen experience . 
there's very little sense to what's going on here , but the makers serve up the cliches with considerable dash . 
witty , contemplative , and sublimely beautiful . 
a surprisingly 'solid' achievement by director malcolm d . lee and writer john ridley . 
woven together handsomely , recalling sixties' rockumentary milestones from lonely boy to don't look back . 
this is pure , exciting moviemaking . you won't exactly know what's happening but you'll be blissfully exhausted . 
the 1960s rebellion was misdirected : you can't fight your culture . 
works because reno doesn't become smug or sanctimonious towards the audience . 
nettelbeck . . . has a pleasing way with a metaphor . 
a pure participatory event that malnourished intellectuals will gulp down in a frenzy . 
the cast delivers without sham the raw-nerved story . 
steven soderbergh's digital video experiment is a clever and cutting , quick and dirty look at modern living and movie life . 
the film's highlight is definitely its screenplay , both for the rhapsodic dialogue that jumps off the page , and for the memorable character creations . 
it lets you brush up against the humanity of a psycho , without making him any less psycho . 
sillier , cuter , and shorter than the first ( as best i remember ) , but still a very good time at the cinema . 
the film is bright and flashy in all the right ways . 
elegant and eloquent [meditation] on death and that most elusive of passions , love . 
cut through the layers of soap-opera emotion and you find a scathing portrayal of a powerful entity strangling the life out of the people who want to believe in it the most . 
filmmaker tian zhuangzhuang triumphantly returns to narrative filmmaking with a visually masterful work of quiet power . 
it excels because , unlike so many other hollywood movies of its ilk , it offers hope . 
shot in rich , shadowy black-and-white , devils chronicles , with increasingly amused irony , the relationship between reluctant captors and befuddled captives . 
there's no clear picture of who killed bob crane . but here's a glimpse at his life . 
spectacularly beautiful , not to mention mysterious , sensual , emotionally intense , and replete with virtuoso throat-singing . 
weird . rewarding . 
a summer entertainment adults can see without feeling embarrassed , but it could have been more . 
sparse but oddly compelling . 
a stirring , funny and finally transporting re-imagining of beauty and the beast and 1930s horror films
the pinochet case is a searing album of remembrance from those who , having survived , suffered most . 
a sweet-tempered comedy that forgoes the knee-jerk misogyny that passes for humor in so many teenage comedies . 
argento , at only 26 , brings a youthful , out-to-change-the-world aggressiveness to the project , as if she's cut open a vein and bled the raw film stock . 
sleek and arty . 
with so many bad romances out there , this is the kind of movie that deserves a chance to shine . 
brash , intelligent and erotically perplexing , haneke's portrait of an upper class austrian society and the suppression of its tucked away demons is uniquely felt with a sardonic jolt . 
though jackson doesn't always succeed in integrating the characters in the foreground into the extraordinarily rich landscape , it must be said that he is an imaginative filmmaker who can see the forest for the trees . 
 " the quiet american " begins in saigon in 1952 . that's its first sign of trouble . 
a dazzling thing to behold -- as long as you're wearing the somewhat cumbersome 3d goggles the theater provides . 
be patient with the lovely hush ! and your reward will be a thoughtful , emotional movie experience . 
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 . 
godard has never made a more sheerly beautiful film than this unexpectedly moving meditation on love , history , memory , resistance and artistic transcendence . 
the kind of movie that comes along only occasionally , one so unconventional , gutsy and perfectly executed it takes your breath away . 
unlike most surf movies , blue crush thrillingly uses modern technology to take the viewer inside the wave . by the end you can't help but feel 'stoked . '
the off-center humor is a constant , and the ensemble gives it a buoyant delivery . 
a tasty slice of droll whimsy . 
mike leigh populates his movie with a wonderful ensemble cast of characters that bring the routine day to day struggles of the working class to life
awesome work : ineffable , elusive , yet inexplicably powerful
sparkling , often hilarious romantic jealousy comedy . . . attal looks so much like a young robert deniro that it seems the film should instead be called 'my husband is travis bickle' . 
even if you're an agnostic carnivore , you can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor . 
where bowling for columbine is at its most valuable is in its examination of america's culture of fear as a root cause of gun violence . 
the result is somewhat satisfying -- it still comes from spielberg , who has never made anything that wasn't at least watchable . but it's also disappointing to a certain degree . 
the all-french cast is marveilleux . 
there's a lot to recommend read my lips . 
a minor film with major pleasures from portuguese master manoel de oliviera . . . 
brosnan gives a portrayal as solid and as perfect as his outstanding performance as bond in die another day . 
audiences are advised to sit near the back and squint to avoid noticing some truly egregious lip-non-synching , but otherwise the production is suitably elegant . 
the movie is . . . very funny as you peek at it through the fingers in front of your eyes . 
nicks sustains the level of exaggerated , stylized humor throughout by taking your expectations and twisting them just a bit . 
a refreshing change from the usual whoopee-cushion effort aimed at the youth market . 
it finds its moviegoing pleasures in the tiny events that could make a person who has lived her life half-asleep suddenly wake up and take notice . 
 . . . an enjoyably frothy 'date movie' . . . 
the genius of the work speaks volumes , offering up a hallucinatory dreamscape that frustrates and captivates . 
two weeks notice has appeal beyond being a sandra bullock vehicle or a standard romantic comedy . 
the movie's seams may show . . . but pellington gives " mothman " an irresistibly uncanny ambience that goes a long way toward keeping the picture compelling . 
if mostly martha is mostly unsurprising , it's still a sweet , even delectable diversion . 
a wild comedy that could only spring from the demented mind of the writer of being john malkovich . 
schnitzler does a fine job contrasting the sleekness of the film's present with the playful paranoia of the film's past . 
'a fresh-faced , big-hearted and frequently funny thrill ride for the kiddies , with enough eye candy and cheeky wit to keep parents away from the concession stand . '
mana gives us compelling , damaged characters who we want to help -- or hurt . 
the sentimental script has problems , but the actors pick up the slack . 
a good documentary can make interesting a subject you thought would leave you cold . a case in point : doug pray's scratch . 
abderrahmane sissako's heremakono ( waiting for happiness ) is an elegiac portrait of a transit city on the west african coast struggling against foreign influences . 
in xxx , diesel is that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep . 
an engrossing and grim portrait of hookers : what they think of themselves and their clients . 
it all plays out . . . like a high-end john hughes comedy , a kind of elder bueller's time out . 
the film is enriched by an imaginatively mixed cast of antic spirits , headed by christopher plummer as the subtlest and most complexly evil uncle ralph i've ever seen in the many film and stage adaptations of the work . 
this is one of the rarest kinds of films : a family-oriented non-disney film that is actually funny without hitting below the belt . 
it is refreshingly undogmatic about its characters . 
a moving and important film . 
deep intelligence and a warm , enveloping affection breathe out of every frame . 
famuyiwa's feature deals with its subject matter in a tasteful , intelligent manner , rather than forcing us to endure every plot contrivance that the cliché-riddled genre can offer . 
showtime is a fine-looking film with a bouncy score and a clutch of lively songs for deft punctuation . 
sweet home alabama isn't going to win any academy awards , but this date-night diversion will definitely win some hearts . 
a cruelly funny twist on teen comedy packed with inventive cinematic tricks and an ironically killer soundtrack
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 . 
even though many of these guys are less than adorable ( their lamentations are pretty much self-centered ) , there's something vital about the movie . 
a tour de force drama about the astonishingly pivotal role of imagination in the soulful development of two rowdy teenagers . 
it is a strength of a documentary to disregard available bias , especially as temptingly easy as it would have been with this premise . 
when twentysomething hotsies make movies about their lives , hard-driving narcissism is a given , but what a world we'd live in if argento's hollywood counterparts . . . had this much imagination and nerve . 
maryam is more timely now than ever . 
an eloquent , reflective and beautifully acted meditation on both the profoundly devastating events of one year ago and the slow , painful healing process that has followed in their wake . 
piccoli gives a superb performance full of deep feeling . 
what a concept , what an idea , what a thrill ride . this is a more fascinating look at the future than " bladerunner " and one of the most high-concept sci fi adventures attempted for the screen . 
the rare movie that's as crisp and to the point as the novel on which it's based . 
a film of epic scale with an intimate feeling , a saga of the ups and downs of friendships . 
sayles has an eye for the ways people of different ethnicities talk to and about others outside the group . 
 " nicholas nickleby " is a perfect family film to take everyone to since there's no new " a christmas carol " out in the theaters this year . charlie hunnam has the twinkling eyes , repressed smile and determined face needed to carry out a dickensian hero . 
niccol the filmmaker merges his collaborators' symbolic images with his words , insinuating , for example , that in hollywood , only god speaks to the press
khouri manages , with terrific flair , to keep the extremes of screwball farce and blood-curdling family intensity on one continuum . 
impresses as a skillfully assembled , highly polished and professional adaptation . . . just about as chilling and unsettling as 'manhunter' was . 
it's a solid movie about people whose lives are anything but . 
though a touch too arthouse 101 in its poetic symbolism , heaven proves to be a good match of the sensibilities of two directors . 
i simply can't recommend it enough . 
wiseman reveals the victims of domestic abuse in all of their pity and terror . 
muccino , who directed from his own screenplay , is a canny crowd pleaser , and the last kiss . . . provides more than enough sentimental catharsis for a satisfying evening at the multiplex . 
we want the funk - and this movie's got it . 
wow , so who knew charles dickens could be so light-hearted ? 
many went to see the attraction for the sole reason that it was hot outside and there was air conditioning inside , and i don't think that a . c . will help this movie one bit . 
sem se preocupar em criar momentos melodramáticos para arrancar lágrimas do espectador , o pianista é um filme triste sem que , para isso , precise ser emocionante . 
the storylines are woven together skilfully , the magnificent swooping aerial shots are breathtaking , and the overall experience is awesome . 
a miraculous movie , i'm going home is so slight , yet overflows with wisdom and emotion . 
baran is shockingly devoid of your typical majid majidi shoe-loving , crippled children . 
an ambitious 'what if ? ' that works . 
every moment crackles with tension , and by the end of the flick , you're on the edge of your seat . 
a fine , rousing , g-rated family film , aimed mainly at little kids but with plenty of entertainment value to keep grown-ups from squirming in their seats . 
the series' message about making the right choice in the face of tempting alternatives remains prominent , as do the girls' amusing personalities . 
richly entertaining and suggestive of any number of metaphorical readings . 
a compelling allegory about the last days of germany's democratic weimar republic . 
offers a guilt-free trip into feel-good territory . 
a b-movie you can sit through , enjoy on a certain level and then forget . 
devos delivers a perfect performance that captures the innocence and budding demons within a wallflower . 
disappointingly , the characters are too strange and dysfunctional , tom included , to ever get under the skin , but this is compensated in large part by the off-the-wall dialogue , visual playfulness and the outlandishness of the idea itself . 
director todd solondz has made a movie about critical reaction to his two previous movies , and about his responsibility to the characters that he creates . 
the word that comes to mind , while watching eric rohmer's tribute to a courageous scottish lady , is painterly . 
a fascinating case study of flower-power liberation -- and the price that was paid for it . 
bluer than the atlantic and more biologically detailed than an autopsy , the movie . . . is , also , frequently hilarious . 
really is a pan-american movie , with moments of genuine insight into the urban heart . 
obligada para impotentes , daneses , camareras italianas , profesores de idiomas , y todo aquel que desee una lengua para expresar su amor . 
an overly familiar scenario is made fresh by an intelligent screenplay and gripping performances in this low-budget , video-shot , debut indie effort . 
peppering this urban study with references to norwegian folktales , villeneuve creates in maelstrom a world where the bizarre is credible and the real turns magical . 
ong's promising debut is a warm and well-told tale of one recent chinese immigrant's experiences in new york city . 
fantastic ! 
that the real antwone fisher was able to overcome his personal obstacles and become a good man is a wonderful thing ; that he has been able to share his story so compellingly with us is a minor miracle . 
there's not much to fatale , outside of its stylish surprises . . . but that's ok . 
what redeems the film is the cast , particularly the ya-yas themselves . 
beautiful , cold , oddly colorful and just plain otherworldly , a freaky bit of art that's there to scare while we delight in the images . 
it's up to [watts] to lend credibility to this strange scenario , and her presence succeeds in making us believe . 
the film is darkly atmospheric , with herrmann quietly suggesting the sadness and obsession beneath hearst's forced avuncular chortles . 
shyamalan takes a potentially trite and overused concept ( aliens come to earth ) and infuses it into a rustic , realistic , and altogether creepy tale of hidden invasion . 
 . . . the story , like ravel's bolero , builds to a crescendo that encompasses many more paths than we started with . 
it's plotless , shapeless -- and yet , it must be admitted , not entirely humorless . indeed , the more outrageous bits achieve a shock-you-into-laughter intensity of almost dadaist proportions . 
gondry's direction is adequate . . . but what gives human nature its unique feel is kaufman's script . 
the film's plot may be shallow , but you've never seen the deep like you see it in these harrowing surf shots . 
with a large cast representing a broad cross-section , tavernier's film bounds along with the rat-a-tat energy of " his girl friday , " maintaining a light touch while tackling serious themes . 
the observations of this social/economic/urban environment are canny and spiced with irony . 
renner carries much of the film with a creepy and dead-on performance . 
jarecki and gibney do find enough material to bring kissinger's record into question and explain how the diplomat's tweaked version of statecraft may have cost thousands and possibly millions of lives . 
the spaniel-eyed jean reno infuses hubert with a mixture of deadpan cool , wry humor and just the measure of tenderness required to give this comic slugfest some heart . 
aniston has at last decisively broken with her friends image in an independent film of satiric fire and emotional turmoil . 
a mildly enjoyable if toothless adaptation of a much better book . 
 " the dangerous lives of altar boys " has flaws , but it also has humor and heart and very talented young actors
unexpected , and often contradictory , truths emerge . 
300 years of russian history and culture compressed into an evanescent , seamless and sumptuous stream of consciousness . 
intelligent , caustic take on a great writer and dubious human being . 
may take its sweet time to get wherever it's going , but if you have the patience for it , you won't feel like it's wasted yours . 
less the sensational true-crime hell-jaunt purists might like and more experimental in its storytelling ( though no less horrifying for it ) . 
the film is one of the year's best . 
eerily accurate depiction of depression . 
 . . . a delicious crime drama on par with the slickest of mamet . 
charming and witty , it's also somewhat clumsy . 
directed with purpose and finesse by england's roger mitchell , who handily makes the move from pleasing , relatively lightweight commercial fare such as notting hill to commercial fare with real thematic heft . 
escapes the precious trappings of most romantic comedies , infusing into the story very real , complicated emotions . 
this big screen caper has a good bark , far from being a bow-wow . 
[allen] manages to breathe life into this somewhat tired premise . 
i have two words to say about reign of fire . great dragons ! 
by surrounding us with hyper-artificiality , haynes makes us see familiar issues , like racism and homophobia , in a fresh way . 
a deliberative account of a lifestyle characterized by its surface-obsession – one that typifies the delirium of post , pre , and extant stardom . 
superb production values & christian bale's charisma make up for a derivative plot . 
the film has the courage of its convictions and excellent performances on its side . 
i know i shouldn't have laughed , but hey , those farts got to my inner nine-year-old . 
a movie that will thrill you , touch you and make you laugh as well . 
it's a smart , funny look at an arcane area of popular culture , and if it isn't entirely persuasive , it does give exposure to some talented performers . 
more vaudeville show than well-constructed narrative , but on those terms it's inoffensive and actually rather sweet . 
the case is a convincing one , and should give anyone with a conscience reason to pause . 
the actresses find their own rhythm and protect each other from the script's bad ideas and awkwardness . 
diverting french comedy in which a husband has to cope with the pesky moods of jealousy . 
captivates and shows how a skillful filmmaker can impart a message without bludgeoning the audience over the head . 
there is a welcome lack of pretension about the film , which very simply sets out to entertain and ends up delivering in good measure . 
coy but exhilarating , with really solid performances by ving rhames and wesley snipes . 
it is a likable story , told with competence . 
not only does spider-man deliver , but i suspect it might deliver again and again . 
tackles the difficult subject of grief and loss with such life-embracing spirit that the theme doesn't drag an audience down . 
a small movie with a big impact . 
the movie , despite its rough edges and a tendency to sag in certain places , is wry and engrossing . 
 i admire the closing scenes of the film , which seem to ask whether our civilization offers a cure for vincent's complaint . 
like rudy yellow lodge , eyre needs to take a good sweat to clarify his cinematic vision before his next creation and remember the lessons of the trickster spider . 
a delightful romantic comedy with plenty of bite . it's far from a frothy piece , and the characters are complex , laden with plenty of baggage and tinged with tragic undertones . 
using an endearing cast , writer/director dover kosashvili takes a slightly dark look at relationships , both sexual and kindred . 
when a movie has stuck around for this long , you know there's something there . it's that good . 
smart , sassy interpretation of the oscar wilde play . 
forget about one oscar nomination for julianne moore this year - she should get all five . 
japanese director shohei imamura's latest film is an odd but ultimately satisfying blend of the sophomoric and the sublime . 
kwan is a master of shadow , quietude , and room noise , and lan yu is a disarmingly lived-in movie . 
while the plot follows a predictable connect-the-dots course . . . director john schultz colors the picture in some evocative shades . 
nice piece of work . 
katz's documentary doesn't have much panache , but with material this rich it doesn't need it . 
we get an image of big papa spanning history , rather than suspending it . 
evelyn's strong cast and surehanded direction make for a winning , heartwarming yarn . 
'aunque recurre a ciertos clichés del género , la poderosa actuación de robin williams perdona las fallas del guión . '
a conventional but heartwarming tale . 
a thought-provoking picture . 
this is one of the outstanding thrillers of recent years . 
skins has a desolate air , but eyre , a native american raised by white parents , manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor . 
a film of quiet power . 
more concerned with overall feelings , broader ideas , and open-ended questions than concrete story and definitive answers , soderbergh's solaris is a gorgeous and deceptively minimalist cinematic tone poem . 
an intelligent romantic thriller of a very old-school kind of quality . 
the sword fighting is well done and auteuil is a goofy pleasure . 
yes , mibii is rote work and predictable , but with a philosophical visual coming right at the end that extravagantly redeems it . 
film can't quite maintain its initial momentum , but remains sporadically funny throughout . 
o fantasma is boldly , confidently orchestrated , aesthetically and sexually , and its impact is deeply and rightly disturbing . 
it's still adam sandler , and it's not little nicky . and for many of us , that's good enough . 
here's yet another cool crime movie that actually manages to bring something new into the mix . 
lee's achievement extends to his supple understanding of the role that brown played in american culture as an athlete , a movie star , and an image of black indomitability . 
kaufman and jonze take huge risks to ponder the whole notion of passion -- our desire as human beings for passion in our lives and the emptiness one feels when it is missing . 
it tends to remind one of a really solid woody allen film , with its excellent use of new york locales and sharp writing
while centered on the life experiences of a particular theatrical family , this marvelous documentary touches -- ever so gracefully -- on the entire history of the yiddish theater , both in america and israel . 
the film , despite the gratuitous cinematic distractions impressed upon it , is still good fun . 
the immersive powers of the giant screen and its hyper-realistic images are put to perfect use in the breathtakingly beautiful outer-space documentary space station 3d . 
has an unmistakable , easy joie de vivre . 
more than anything else , kissing jessica stein injects freshness and spirit into the romantic comedy genre , which has been held hostage by generic scripts that seek to remake sleepless in seattle again and again . 
this movie has the usual impossible stunts . . . but it has just as many scenes that are lean and tough enough to fit in any modern action movie . 
mostly works because of the universal themes , earnest performances . . . and excellent use of music by india's popular gulzar and jagjit singh . 
 . . . the one thing this wild film has that other imax films don't : chimps , lots of chimps , all blown up to the size of a house . that's fun for kids of any age . 
writer/director david caesar ladles on the local flavour with a hugely enjoyable film about changing times , clashing cultures and the pleasures of a well-made pizza . 
rarely have i seen a film so willing to champion the fallibility of the human heart . 
holofcener rejects patent solutions to dramatize life's messiness from inside out , in all its strange quirks . 
like the full monty , this is sure to raise audience's spirits and leave them singing long after the credits roll . 
 . . . a gleefully grungy , hilariously wicked black comedy . . . 
kinnear and dafoe give what may be the performances of their careers . 
all in all , a great party . 
a moving story of determination and the human spirit . 
 " brown sugar " admirably aspires to be more than another " best man " clone by weaving a theme throughout this funny film . 
[gulpilil] is a commanding screen presence , and his character's abundant humanism makes him the film's moral compass . 
a stylish thriller . 
an effortlessly accomplished and richly resonant work . 
in some ways , lagaan is quintessential bollywood . except it's much , much better . 
though it never rises to its full potential as a film , still offers a great deal of insight into the female condition and the timeless danger of emotions repressed . 
scotland looks wonderful , the fans are often funny fanatics , the showdown sure beats a bad day of golf . 
what enlivens this film , beyond the astute direction of cardoso and beautifully detailed performances by all of the actors , is a note of defiance over social dictates . 
the emotion is impressively true for being so hot-blooded , and both leads are up to the task . 
although it lacks the detail of the book , the film does pack some serious suspense . 
i'd watch these two together again in a new york minute . 
there's nothing like love to give a movie a b-12 shot , and cq shimmers with it . 
a moving essay about the specter of death , especially suicide . 
this film is so different from the apple and so striking that it can only encourage us to see samira makhmalbaf as a very distinctive sensibility , working to develop her own film language with conspicuous success . 
like a less dizzily gorgeous companion to mr . wong's in the mood for love -- very much a hong kong movie despite its mainland setting . 
 . . . a somber film , almost completely unrelieved by any comedy beyond the wistful everyday ironies of the working poor . 
coral reef adventure is a heavyweight film that fights a good fight on behalf of the world's endangered reefs -- and it lets the pictures do the punching . 
the overall result is an intelligent , realistic portrayal of testing boundaries . 
poignant and moving , a walk to remember is an inspirational love story , capturing the innocence and idealism of that first encounter . 
worth a salute just for trying to be more complex than your average film . 
handsome and sophisticated approach to the workplace romantic comedy . 
a shimmeringly lovely coming-of-age portrait , shot in artful , watery tones of blue , green and brown . 
while cherish doesn't completely survive its tonal transformation from dark comedy to suspense thriller , it's got just enough charm and appealing character quirks to forgive that still serious problem . 
in many ways , reminiscent of 1992's unforgiven which also utilized the scintillating force of its actors to draw out the menace of its sparse dialogue . 
we admire this film for its harsh objectivity and refusal to seek our tears , our sympathies . 
an often watchable , though goofy and lurid , blast of a costume drama set in the late 15th century . 
the entire cast is first-rate , especially sorvino . 
the cat's meow marks a return to form for director peter bogdanovich . . . 
this one is strictly a lightweight escapist film . 
this sensitive , smart , savvy , compelling coming-of-age drama delves into the passive-aggressive psychology of co-dependence and the struggle for self-esteem . 
the culmination of everyone's efforts is given life when a selection appears in its final form [in " last dance " ] . 
in questioning the election process , payami graphically illustrates the problems of fledgling democracies , but also the strength and sense of freedom the iranian people already possess , with or without access to the ballot box . 
a very charming and funny movie . 
this is a film that manages to find greatness in the hue of its drastic iconography . 
streamlined to a tight , brisk 85-minute screwball thriller , " big trouble " is funny , harmless and as substantial as a tub of popcorn with extra butter . 
consummate actor barry has done excellent work here . 
the biggest problem with this movie is that it's not nearly long enough . 
while not all that bad of a movie , it's nowhere near as good as the original . 
ali's graduation from little screen to big is far less painful than his opening scene encounter with an over-amorous terrier . 
i have always appreciated a smartly written motion picture , and , whatever flaws igby goes down may possess , it is undeniably that . 
you can sip your vintage wines and watch your merchant ivory productions ; i'll settle for a nice cool glass of iced tea and a jerry bruckheimer flick any day of the week . 
may be the most undeserving victim of critical overkill since town and country . 
a chilly , brooding but quietly resonant psychological study of domestic tension and unhappiness . 
the movie does its best to work us over , with second helpings of love , romance , tragedy , false dawns , real dawns , comic relief , two separate crises during marriage ceremonies , and the lush scenery of the cotswolds . 
cold , nervy and memorable . 
becomes a fascinating study of isolation and frustration that successfully recreates both the physical setting and emotional tensions of the papin sisters . 
spend your benjamins on a matinee . 
all in all , it's a pretty good execution of a story that's a lot richer than the ones hollywood action screenwriters usually come up with on their own . 
worth seeing just for weaver and lapaglia . 
a pleasant piece of escapist entertainment . 
among the many pleasures are the lively intelligence of the artists and their perceptiveness about their own situations . 
it's consistently funny , in an irresistible junior-high way , and consistently free of any gag that would force you to give it a millisecond of thought . 
it's the cute frissons of discovery and humor between chaplin and kidman that keep this nicely wound clock not just ticking , but humming . 
the storytelling may be ordinary , but the cast is one of those all-star reunions that fans of gosford park have come to assume is just another day of brit cinema . 
there's something about a marching band that gets me where i live . 
cuaron repeatedly , perversely undercuts the joie de vivre even as he creates it , giving the movie a mournful undercurrent that places the good-time shenanigans in welcome perspective . 
it's definitely an improvement on the first blade , since it doesn't take itself so deadly seriously . 
a slam-bang extravaganza that is all about a wild-and-woolly , wall-to-wall good time . 
what's infuriating about full frontal is that it's too close to real life to make sense . what's invigorating about it is that it doesn't give a damn . 
is red dragon worthy of a place alongside the other hannibal movies ? as hannibal would say , yes , 'it's like having an old friend for dinner' . 
writer-director juan carlos fresnadillo makes a feature debut that is fully formed and remarkably assured . 
insightfully written , delicately performed
perhaps the grossest movie ever made . funny , though . 
this 90-minute postmodern voyage was more diverting and thought-provoking than i'd expected it to be . 
one of those exceedingly rare films in which the talk alone is enough to keep us involved . 
a heartbreakingly thoughtful minor classic , the work of a genuine and singular artist . 
an affectionately goofy satire that's unafraid to throw elbows when necessary . . . 
between them , de niro and murphy make showtime the most savory and hilarious guilty pleasure of many a recent movie season . 
jackson tries to keep the plates spinning as best he can , but all the bouncing back and forth can't help but become a bit tedious -- even with the breathtaking landscapes and villainous varmints there to distract you from the ricocheting . 
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 . 
interesting both as a historical study and as a tragic love story . 
a stylish but steady , and ultimately very satisfying , piece of character-driven storytelling . 
it picked me up , swung me around , and dropped me back in my seat with more emotional force than any other recent film . 
graham greene's novel of colonialism and empire is elevated by michael caine's performance as a weary journalist in a changing world . 
though it's equally solipsistic in tone , the movie has enough vitality to justify the notion of creating a screen adaptation of evans' saga of hollywood excess . 
compulsively watchable , no matter how degraded things get . 
delivers roughly equal amounts of beautiful movement and inside information . 
bon appétit ! just like a splendid meal , red dragon satisfies from its ripe recipe , inspiring ingredients , certified cuisine and palatable presentation . 
the structure is simple , but in its own way , rabbit-proof fence is a quest story as grand as the lord of the rings . 
this charming , thought-provoking new york fest of life and love has its rewards . 
some people march to the beat of a different drum , and if you ever wondered what kind of houses those people live in , this documentary takes a look at 5 alternative housing options . 
playfully profound . . . and crazier than michael jackson on the top floor of a skyscraper nursery surrounded by open windows . 
a film that will enthrall the whole family . 
the charm of the first movie is still there , and the story feels like the logical , unforced continuation of the careers of a pair of spy kids . 
k 19 stays afloat as decent drama/action flick
it sends you away a believer again and quite cheered at just that . 
like the best 60 minutes exposé , the film ( at 80 minutes ) is actually quite entertaining . 
an 83 minute document of a project which started in a muddle , seesawed back and forth between controlling interests multiple times , then found its sweet spot
an emotionally and spiritually compelling journey seen through the right eyes , with the right actors and with the kind of visual flair that shows what great cinema can really do . 
nair doesn't use [monsoon wedding] to lament the loss of culture . instead , she sees it as a chance to revitalize what is and always has been remarkable about clung-to traditions . 
both grant and hoult carry the movie because they are believable as people -- flawed , assured of the wrong things , and scared to admit how much they may really need the company of others . 
leading a double life in an american film only comes to no good , but not here . matters play out realistically if not always fairly . 
in the affable maid in manhattan , jennifer lopez's most aggressive and most sincere attempt to take movies by storm , the diva shrewdly surrounds herself with a company of strictly a-list players . 
like mike is a harmlessly naïve slice of b-ball fantasy , fit for filling in during the real nba's off-season . 
though writer/director bart freundlich's film ultimately becomes a simplistic story about a dysfunctional parent-child relationship , it has some special qualities and the soulful gravity of crudup's anchoring performance . 
y tu mamá también es un buen filme gracias a lo poco convencional de su narrativa , y es quizá el proyecto más arriesgado en la carrera de alfonso cuarón
what the movie lacks in action it more than makes up for in drama , suspense , revenge , and romance . 
just offbeat enough to keep you interested without coming close to bowling you over . 
probes in a light-hearted way the romantic problems of individuals for whom the yearning for passion spells discontent . 
what elevates the movie above the run-of-the-mill singles blender is its surreal sense of humor and technological finish . 
a film about female friendship that men can embrace and women will talk about for hours . 
the directing and story are disjointed , flaws that have to be laid squarely on taylor's doorstep . but the actors make this worth a peek . 
É uma pena que , mais tarde , o próprio filme abandone o tom de paródia e passe a utilizar os mesmos clichês que havia satirizado . 
light the candles , bring out the cake and don't fret about the calories because there's precious little substance in birthday girl -- it's simply , and surprisingly , a nice , light treat . 
it may be about drug dealers , kidnapping , and unsavory folks , but the tone and pacing are shockingly intimate . 
massoud's story is an epic , but also a tragedy , the record of a tenacious , humane fighter who was also the prisoner ( and ultimately the victim ) of history . 
if villainous vampires are your cup of blood , blade 2 is definitely a cut above the rest . 
drumline ably captures the complicated relationships in a marching band . 
because the film deliberately lacks irony , it has a genuine dramatic impact ; it plays like a powerful 1957 drama we've somehow never seen before . 
does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets . 
seems based on ugly ideas instead of ugly behavior , as happiness was . . . hence , storytelling is far more appealing . 
sum " is jack ryan's " do-over . " give credit to everyone from robinson down to the key grip that this bold move works . especially give credit to affleck . 
an intelligently made ( and beautifully edited ) picture that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch . 
a terrific date movie , whatever your orientation . 
not all of the stories work and the ones that do are thin and scattered , but the film works well enough to make it worth watching . 
what it lacks in originality it makes up for in effective if cheap moments of fright and dread . 
the pain , loneliness and insecurity of the screenwriting process are vividly and painfully brought to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze . 
a gem of a movie . 
witty , vibrant , and intelligent . 
it's all stitched together with energy , intelligence and verve , enhanced by a surplus of vintage archive footage . 
miller comes at film with bracing intelligence and a vision both painterly and literary . 
the film is moody , oozing , chilling and heart-warming all at once . . . a twisting , unpredictable , cat-and-mouse thriller . 
eight legged freaks is clever and funny , is amused by its special effects , and leaves you feeling like you've seen a movie instead of an endless trailer . 
this is historical filmmaking without the balm of right-thinking ideology , either liberal or conservative . mr . scorsese's bravery and integrity in advancing this vision can hardly be underestimated . 
a thriller whose style , structure and rhythms are so integrated with the story , you cannot separate them . 
it's a hoot watching the rock chomp on jumbo ants , pull an arrow out of his back , and leap unscathed through raging fire ! 
returning director rob minkoff . . . and screenwriter bruce joel rubin . . . have done a fine job of updating white's dry wit to a new age . 
unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly , your first instinct is to duck . 
a strong script , powerful direction and splendid production design allows us to be transported into the life of wladyslaw szpilman , who is not only a pianist , but a good human being . 
an unflinching look at the world's dispossessed . 
if the film fails to fulfill its own ambitious goals , it nonetheless sustains interest during the long build-up of expository material . 
polanski has found the perfect material with which to address his own world war ii experience in his signature style . 
it is life affirming and heartbreaking , sweet without the decay factor , funny and sad . 
an off-beat and fanciful film about the human need for monsters to blame for all that is amiss in the world . 
a colorful , joyous celebration of life ; a tapestry woven of romance , dancing , singing , and unforgettable characters . 
frei assembles a fascinating profile of a deeply humanistic artist who , in spite of all that he's witnessed , remains surprisingly idealistic , and retains an extraordinary faith in the ability of images to communicate the truth of the world around him . 
nicely combines the enigmatic features of 'memento' with the hallucinatory drug culture of 'requiem for a dream . '
a well paced and satisfying little drama that deserved better than a ‘direct-to-video' release . 
the best part about " gangs " was daniel day-lewis . 
a treat for its depiction on not giving up on dreams when you're a struggling nobody . 
one of those rare films that seems as though it was written for no one , but somehow manages to convince almost everyone that it was put on the screen , just for them . 
a gripping documentary that reveals how deep the antagonism lies in war-torn jerusalem . 
director chris wedge and screenwriters michael berg , michael j . wilson and peter ackerman create some episodes that rival vintage looney tunes for the most creative mayhem in a brief amount of time . 
one of the film's most effective aspects is its tchaikovsky soundtrack of neurasthenic regret . 
solondz creates some effective moments of discomfort for character and viewer alike . 
the film's appeal has a lot to do with the casting of juliette binoche as sand , who brings to the role her pale , dark beauty and characteristic warmth . 
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 . 
somehow ms . griffiths and mr . pryce bring off this wild welsh whimsy . 
more mature than fatal attraction , more complete than indecent proposal and more relevant than 9 ½ weeks , unfaithful is at once intimate and universal cinema . 
for all the dolorous trim , secretary is a genial romance that maintains a surprisingly buoyant tone throughout , notwithstanding some of the writers' sporadic dips into pop freudianism . 
a fanciful drama about napoleon's last years and his surprising discovery of love and humility . 
a highly personal look at the effects of living a dysfunctionally privileged lifestyle , and by the end , we only wish we could have spent more time in its world . 
eric schweig and graham greene both exude an air of dignity that's perfect for the proud warrior that still lingers in the souls of these characters . 
lovely and amazing is holofcener's deep , uncompromising curtsy to women she knows , and very likely is . when all is said and done , she loves them to pieces -- and so , i trust , will you . 
campbell scott finds the ideal outlet for his flick-knife diction in the role of roger swanson . 
[fiji diver rusi vulakoro and the married couple howard and michelle hall] show us the world they love and make us love it , too . 
russian ark is a new treasure of the hermitage . 
the animated sequences are well done and perfectly constructed to convey a sense of childhood imagination and creating adventure out of angst . 
it's definitely a step in the right direction . 
as the princess , sorvino glides gracefully from male persona to female without missing a beat . ben kingsley is truly funny , playing a kind of ghandi gone bad . 
ourside the theatre roger might be intolerable company , but inside it he's well worth spending some time with . 
a gem , captured in the unhurried , low-key style favored by many directors of the iranian new wave . 
in an era where big stars and high production values are standard procedure , narc strikes a defiantly retro chord , and outpaces its contemporaries with daring and verve . 
almost peerlessly unsettling . 
ranges from laugh-out-loud hilarious to wonder-what- time-it-is tedious . 
the film's gamble to occasionally break up the live-action scenes with animated sequences pays off , as does its sensitive handling of some delicate subject matter . 
talk to her is not the perfect movie many have made it out to be , but it's still quite worth seeing . 
beating the austin powers films at their own game , this blaxploitation spoof downplays the raunch in favor of gags that rely on the strength of their own cleverness as opposed to the extent of their outrageousness . 
this is a dark , gritty , sometimes funny little gem . 
for all its visual panache and compelling supporting characters , the heart of the film rests in the relationship between sullivan and his son . 
what makes salton sea surprisingly engrossing is that caruso takes an atypically hypnotic approach to a world that's often handled in fast-edit , hopped-up fashion . 
a hidden-agenda drama that shouts classic french nuance . 
with spy kids 2 : the island of lost dreams , the spy kids franchise establishes itself as a durable part of the movie landscape : a james bond series for kids . 
an invaluable historical document thanks to the filmmaker's extraordinary access to massoud , whose charm , cultivation and devotion to his people are readily apparent . 
the performances of the four main actresses bring their characters to life . a little melodramatic , but with enough hope to keep you engaged . 
lan yu seems altogether too slight to be called any kind of masterpiece . it is , however , a completely honest , open-hearted film that should appeal to anyone willing to succumb to it . 
everyone should be able to appreciate the wonderful cinematography and naturalistic acting . 
this often-hilarious farce manages to generate the belly laughs of lowbrow comedy without sacrificing its high-minded appeal . 
stock up on silver bullets for director neil marshall's intense freight train of a film . 
expands the limits of what a film can be , taking us into the lives of women to whom we might not give a second look if we passed them on the street . 
the farcical elements seemed too pat and familiar to hold my interest , yet its diverting grim message is a good one . 
shanghai ghetto may not be as dramatic as roman polanski's the pianist , but its compassionate spirit soars every bit as high . 
despite these annoyances , the capable clayburgh and tambor really do a great job of anchoring the characters in the emotional realities of middle age . 
the underworld urban angst is derivative of martin scorsese's taxi driver and goodfellas , but this film speaks for itself . 
the film's heady yet far from impenetrable theory suggests that russians take comfort in their closed-off nationalist reality . 
despite modest aspirations its occasional charms are not to be dismissed . 
constantly touching , surprisingly funny , semi-surrealist exploration of the creative act . 
the journey is worth your time , especially if you have ellen pompeo sitting next to you for the ride . 
merci pour le movie . 
for every cheesy scene , though , there is a really cool bit -- the movie's conception of a future-world holographic librarian ( orlando jones ) who knows everything and answers all questions , is visually smart , cleverly written , and nicely realized . 
what sets ms . birot's film apart from others in the genre is a greater attention to the parents -- and particularly the fateful fathers -- in the emotional evolution of the two bewitched adolescents . 
all three women deliver remarkable performances . 
claire is a terrific role for someone like judd , who really ought to be playing villains . 
it's clear that mehta simply wanted to update her beloved genre for the thousands of indians who fancy themselves too sophisticated for the cheese-laced spectacles that pack 'em in on the subcontinent . 
compassionately explores the seemingly irreconcilable situation between conservative christian parents and their estranged gay and lesbian children . 
the soundtrack alone is worth the price of admission . 
rodriguez does a splendid job of racial profiling hollywood style--casting excellent latin actors of all ages--a trend long overdue . 
beneath the film's obvious determination to shock at any cost lies considerable skill and determination , backed by sheer nerve . 
bielinsky is a filmmaker of impressive talent . 
so beautifully acted and directed , it's clear that washington most certainly has a new career ahead of him if he so chooses . 
a visual spectacle full of stunning images and effects . 
a gentle and engrossing character study . 
it's enough to watch huppert scheming , with her small , intelligent eyes as steady as any noir villain , and to enjoy the perfectly pitched web of tension that chabrol spins . 
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 . 
a mischievous visual style and oodles of charm make 'cherish' a very good ( but not great ) movie . 
just as the recent argentine film son of the bride reminded us that a feel-good movie can still show real heart , time of favor presents us with an action movie that actually has a brain . 
[a] strong piece of work . 
a stirring tribute to the bravery and dedication of the world's reporters who willingly walk into the nightmare of war not only to record the events for posterity , but to help us clearly see the world of our making . 
the importance of being earnest , so thick with wit it plays like a reading from bartlett's familiar quotations
daring and beautifully made . 
made for teens and reviewed as such , this is recommended only for those under 20 years of age . . . and then only as a very mild rental . 
imagine o . henry's <b>the gift of the magi</b> relocated to the scuzzy underbelly of nyc's drug scene . merry friggin' christmas ! 
the film does give a pretty good overall picture of the situation in laramie following the murder of matthew shepard . 
both lead performances are oscar-size . quaid is utterly fearless as the tortured husband living a painful lie , and moore wonderfully underplays the long-suffering heroine with an unflappable '50s dignity somewhere between jane wyman and june cleaver . 
ferrara's best film in years . 
a remarkably insightful look at the backstage angst of the stand-up comic . 
nothing short of wonderful with its ten-year-old female protagonist and its steadfast refusal to set up a dualistic battle between good and evil . 
davis' candid , archly funny and deeply authentic take on intimate relationships comes to fruition in her sophomore effort . 
it's more enjoyable than i expected , though , and that's because the laughs come from fairly basic comedic constructs . cinematic pratfalls given a working over . the cast is spot on and the mood is laid back . 
matches neorealism's impact by showing the humanity of a war-torn land filled with people who just want to live their lives . 
those moviegoers who would automatically bypass a hip-hop documentary should give " scratch " a second look . 
baby-faced renner is eerily convincing as this bland blank of a man with unimaginable demons within . 
romantic , riveting and handsomely animated . 
a competent , unpretentious entertainment destined to fill the after-school slot at shopping mall theaters across the country . 
shot largely in small rooms , the film has a gentle , unforced intimacy that never becomes claustrophobic . 
where janice beard falters in its recycled aspects , implausibility , and sags in pace , it rises in its courageousness , and comedic employment . 
byler is too savvy a filmmaker to let this morph into a typical romantic triangle . instead , he focuses on the anguish that can develop when one mulls leaving the familiar to traverse uncharted ground . 
mcgrath has deftly trimmed dickens' wonderfully sprawling soap opera , the better to focus on the hero's odyssey from cowering poverty to courage and happiness . 
a chance to see three splendid actors turn a larky chase movie into an emotionally satisfying exploration of the very human need to be somebody , and to belong to somebody . 
metaphors abound , but it is easy to take this film at face value and enjoy its slightly humorous and tender story . 
as directed by dani kouyate of burkina faso , sia lacks visual flair . but kouyate elicits strong performances from his cast , and he delivers a powerful commentary on how governments lie , no matter who runs them . 
the best comedy concert movie i've seen since cho's previous concert comedy film , i'm the one that i want , in 2000 . 
broomfield reminds us that beneath the hype , the celebrity , the high life , the conspiracies and the mystery there were once a couple of bright young men -- promising , talented , charismatic and tragically doomed . 
offers laughs and insight into one of the toughest ages a kid can go through . 
a perceptive , good-natured movie . 
an amused indictment of jaglom's own profession . 
a small movie with a big heart . 
hugely accomplished slice of hitchcockian suspense . 
the formula is familiar but enjoyable . 
tells a fascinating , compelling story . 
a triumph , a film that hews out a world and carries us effortlessly from darkness to light . 
what begins as a conventional thriller evolves into a gorgeously atmospheric meditation on life-changing chance encounters . 
the lady and the duke is a smart , romantic drama that dares to depict the french revolution from the aristocrats' perspective . 
most haunting about " fence " is its conclusion , when we hear the ultimate fate of these girls and realize , much to our dismay , that this really did happen . noyce's greatest mistake is thinking that we needed sweeping , dramatic , hollywood moments to keep us
world traveler might not go anywhere new , or arrive anyplace special , but it's certainly an honest attempt to get at something . 
there's much tongue in cheek in the film and there's no doubt the filmmaker is having fun with it all . 
there's absolutely no reason why blue crush , a late-summer surfer girl entry , should be as entertaining as it is
an action/thriller of the finest kind , evoking memories of day of the jackal , the french connection , and heat . 
the best movie in many a moon about the passions that sometimes fuel our best achievements and other times leave us stranded with nothing more than our lesser appetites . 
in capturing the understated comedic agony of an ever-ruminating , genteel yet decadent aristocracy that can no longer pay its bills , the film could just as well be addressing the turn of the 20th century into the 21st . 
insomnia does not become one of those rare remakes to eclipse the original , but it doesn't disgrace it , either . 
classic cinema served up with heart and humor
[stephen] earnhart's film is more about the optimism of a group of people who are struggling to give themselves a better lot in life than the ones they currently have . 
the events of the film are just so weird that i honestly never knew what the hell was coming next . 
nicole holofcener's lovely and amazing , from her own screenplay , jumps to the head of the class of women's films that manage to avoid the ghetto of sentimental chick-flicks by treating female follies with a satirical style . 
that jack nicholson makes this man so watchable is a tribute not only to his craft , but to his legend . 
has a solid emotional impact . 
successfully blended satire , high camp and yet another sexual taboo into a really funny movie . 
mark pellington's latest pop thriller is as kooky and overeager as it is spooky and subtly in love with myth . 
while maintaining the appearance of clinical objectivity , this sad , occasionally horrifying but often inspiring film is among wiseman's warmest . 
raimi crafted a complicated hero who is a welcome relief from the usual two-dimensional offerings . 
an enjoyable above average summer diversion . 
there is simply no doubt that this film asks the right questions at the right time in the history of our country . 
if you've the patience , there are great rewards here . 
as a science fiction movie , " minority report " astounds . 
watching e . t now , in an era dominated by cold , loud special-effects-laden extravaganzas , one is struck less by its lavish grandeur than by its intimacy and precision . 
visually breathtaking , viscerally exciting , and dramatically moving , it's the very definition of epic adventure . 
chris columbus' sequel is faster , livelier and a good deal funnier than his original . 
watching this film , what we feel isn't mainly suspense or excitement . the dominant feeling is something like nostalgia . 
' . . . a great , participatory spectator sport . '
a rather brilliant little cult item : a pastiche of children's entertainment , superhero comics , and japanese animation . 
believes so fervently in humanity that it feels almost anachronistic , and it is too cute by half . but arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us . 
adam sandler ! in an art film ! 
as averse as i usually am to feel-good , follow-your-dream hollywood fantasies , this one got to me . 
stone seems to have a knack for wrapping the theater in a cold blanket of urban desperation . 
 . . . a funny yet dark and seedy clash of cultures and generations . 
the hook is the drama within the drama , as an unsolved murder and an unresolved moral conflict jockey for the spotlight . 
over the years , hollywood has crafted a solid formula for successful animated movies , and ice age only improves on it , with terrific computer graphics , inventive action sequences and a droll sense of humor . 
like smoke signals , the film is also imbued with strong themes of familial ties and spirituality that are powerful and moving without stooping to base melodrama
one of those movies that make us pause and think of what we have given up to acquire the fast-paced contemporary society . 
one of the most original american productions this year , you'll find yourself remembering this refreshing visit to a sunshine state . 
melds derivative elements into something that is often quite rich and exciting , and always a beauty to behold . 
gives everyone something to shout about . 
the entire movie has a truncated feeling , but what's available is lovely and lovable . 
[a] thoughtful , visually graceful work . 
admirers of director abel ferrara may be relieved that his latest feature , r xmas , marks a modest if encouraging return to form . 
the slam-bang superheroics are kinetic enough to engross even the most antsy youngsters . 
a worthy addition to the cinematic canon , which , at last count , numbered 52 different versions . 
deliciously mean-spirited and wryly observant . 
the kind of primal storytelling that george lucas can only dream of . 
even if the ring has a familiar ring , it's still unusually crafty and intelligent for hollywood horror . 
the sheer joy and pride they took in their work -- and in each other -- shines through every frame . 
a solidly constructed , entertaining thriller that stops short of true inspiration . 
the cast . . . keeps this pretty watchable , and casting mick jagger as director of the escort service was inspired . 
an entertaining , if somewhat standardized , action movie . 
it has a dashing and resourceful hero ; a lisping , reptilian villain ; big fights ; big hair ; lavish period scenery ; and a story just complicated enough to let you bask in your own cleverness as you figure it out . 
an enjoyable comedy of lingual and cultural differences… the château is a film -- full of life and small delights -- that has all the wiggling energy of young kitten . 
intriguing and downright intoxicating . 
an incredibly thoughtful , deeply meditative picture that neatly and effectively captures the debilitating grief felt in the immediate aftermath of the terrorist attacks . 
with an obvious rapport with her actors and a striking style behind the camera , hélène angel is definitely a director to watch . 
 . . . could easily be called the best korean film of 2002 . 
full of detail about the man and his country , and is well worth seeing . 
the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group . . . and never fails to entertain . 
thoroughly engrossing and ultimately tragic . 
peter jackson and company once again dazzle and delight us , fulfilling practically every expectation either a longtime tolkien fan or a movie-going neophyte could want . 
bill morrison's decasia is uncompromising , difficult and unbearably beautiful . 
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 . 
even with all its botches , enigma offers all the pleasure of a handsome and well-made entertainment . 
his work transcends the boy-meets-girl posturing of typical love stories . 
if the real-life story is genuinely inspirational , the movie stirs us as well . 
an ebullient tunisian film about the startling transformation of a tradition-bound widow who is drawn into the exotic world of belly dancing . 
the dramatic crisis doesn't always succeed in its quest to be taken seriously , but huppert's volatile performance makes for a riveting movie experience . 
highly irritating at first , mr . koury's passive technique eventually begins to yield some interesting results . 
about schmidt belongs to nicholson . gone are the flamboyant mannerisms that are the trademark of several of his performances . as schmidt , nicholson walks with a slow , deliberate gait , chooses his words carefully and subdues his natural exuberance . 
the powder blues and sun-splashed whites of tunis make an alluring backdrop for this sensuous and spirited tale of a prim widow who finds an unlikely release in belly-dancing clubs . 
it doesn't make for great cinema , but it is interesting to see where one's imagination will lead when given the opportunity . 
it's sobering , particularly if anyone still thinks this conflict can be resolved easily , or soon . 
if it's not entirely memorable , the movie is certainly easy to watch . 
 . . . by the time it's done with us , mira nair's new movie has its audience giddy with the delight of discovery , of having been immersed in a foreign culture only to find that human nature is pretty much the same all over . 
best indie of the year , so far . 
[ferrera] has the charisma of a young woman who knows how to hold the screen . 
 . . . the plot weaves us into a complex web . 
don't judge this one too soon - it's a dark , gritty story but it takes off in totally unexpected directions and keeps on going . 
it's funny , as the old saying goes , because it's true . 
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 . 
a serviceable euro-trash action extravaganza , with a decent sense of humor and plenty of things that go boom — handguns , bmws and seaside chateaus . 
fortunately , elling never gets too cloying thanks to the actors' perfect comic timing and sweet , genuine chemistry . 
if you've grown tired of going where no man has gone before , but several movies have - take heart . this is the best star trek movie in a long time . 
greg kinnear gives a mesmerizing performance as a full-fledged sex addict who is in complete denial about his obsessive behavior . 
not only a coming-of-age story and cautionary parable , but also a perfectly rendered period piece . 
ou've got to love a disney pic with as little cleavage as this one has , and a heroine as feisty and principled as jane . 
a funny , triumphant , and moving documentary . 
delirious fun . 
lathan and diggs carry the film with their charisma , and both exhibit sharp comic timing that makes the more hackneyed elements of the film easier to digest . 
about schmidt is nicholson's goofy , heartfelt , mesmerizing king lear . 
a confluence of kiddie entertainment , sophisticated wit and symbolic graphic design . 
gay or straight , kissing jessica stein is one of the greatest date movies in years . 
this is a movie full of grace and , ultimately , hope . 
exciting and well-paced . 
even better than the first one ! 
its compelling mix of trial movie , escape movie and unexpected fable ensures the film never feels draggy . 
a must see for all sides of the political spectrum
[reynolds] takes a classic story , casts attractive and talented actors and uses a magnificent landscape to create a feature film that is wickedly fun to watch . 
there are problems with this film that even 3 oscar winners can't overcome , but it's a nice girl-buddy movie once it gets rock-n-rolling . 
rich in atmosphere of the post-war art world , it manages to instruct without reeking of research library dust . 
has the rare capability to soothe and break your heart with a single stroke . 
it rapidly develops into a gut-wrenching examination of the way cultural differences and emotional expectations collide . 
though it flirts with bathos and pathos and the further oprahfication of the world as we know it , it still cuts all the way down to broken bone . 
this humbling little film , fueled by the light comedic work of zhao benshan and the delicate ways of dong jie , is just the sort for those moviegoers who complain that 'they don't make movies like they used to anymore . '
es una de esas películas de las que uno sale reconfortado , agradecido , genuinamente sorprendido . 
it will break your heart many times over . 
a straight-shooting family film which awards animals the respect they've rarely been given . 
overall , interesting as a documentary -- but not very imaxy . 
this is one of those war movies that focuses on human interaction rather than battle and action sequences . . . and it's all the stronger because of it . 
secretary " is owned by its costars , spader and gyllenhaal . maggie g . makes an amazing breakthrough in her first starring role and eats up the screen . 
the film fits into a genre that has been overexposed , redolent of a thousand cliches , and yet remains uniquely itself , vibrant with originality . 
not only is it a charming , funny and beautifully crafted import , it uses very little dialogue , making it relatively effortless to read and follow the action at the same time . 
'almodóvar logra un filme entrañable , lleno de compasión , comprensión , amor , amistad , esperanza y humanidad que es sencillamente inolvidable . '
the kind of sense of humor that derives from a workman's grasp of pun and entendre and its attendant need to constantly draw attention to itself . 
too much of storytelling moves away from solondz's social critique , casting its audience as that of intellectual lector in contemplation of the auteur's professional injuries . 
the story is virtually impossible to follow here , but there's a certain style and wit to the dialogue . 
the music makes a nice album , the food is enticing and italy beckons us all . 
the film is an earnest try at beachcombing verismo , but it would be even more indistinct than it is were it not for the striking , quietly vulnerable personality of ms . ambrose . 
the film is small in scope , yet perfectly formed . 
jones has delivered a solidly entertaining and moving family drama . 
happy times maintains an appealing veneer without becoming too cute about it . 
oliveira seems to pursue silent film representation with every mournful composition . 
one of the pleasures in walter's documentary . . . is the parade of veteran painters , confounded dealers , and miscellaneous bohos who expound upon the subject's mysterious personality without ever explaining him . 
captures all the longing , anguish and ache , the confusing sexual messages and the wish to be a part of that elusive adult world . 
he's the scariest guy you'll see all summer . 
 " frailty " offers chills much like those that you get when sitting around a campfire around midnight , telling creepy stories to give each other the willies . and , there's no way you won't be talking about the film once you exit the theater . 
really quite funny . 
if i have to choose between gorgeous animation and a lame story ( like , say , treasure planet ) or so-so animation and an exciting , clever story with a batch of appealing characters , i'll take the latter every time . 
quiet , adult and just about more stately than any contemporary movie this year . . . a true study , a film with a questioning heart and mind that isn't afraid to admit it doesn't have all the answers . 
in the end , the film is less the cheap thriller you'd expect than it is a fairly revealing study of its two main characters — damaged-goods people whose orbits will inevitably and dangerously collide . 
some of the visual flourishes are a little too obvious , but restrained and subtle storytelling , and fine performances make this delicate coming-of-age tale a treat . 
it is hard not to be especially grateful for freedom after a film like this . 
the dirty jokes provide the funniest moments in this oddly sweet comedy about jokester highway patrolmen . 
y tu mamá también is hilariously , gloriously alive , and quite often hotter than georgia asphalt . 
 . . . works on some levels and is certainly worth seeing at least once . 
you come away from his film overwhelmed , hopeful and , perhaps paradoxically , illuminated . 
if the material is slight and admittedly manipulative , jacquot preserves tosca's intoxicating ardor through his use of the camera . 
thirteen conversations about one thing lays out a narrative puzzle that interweaves individual stories , and , like a mobius strip , elliptically loops back to where it began . 
overall , it's a wacky and inspired little film that works effortlessly at delivering genuine , acerbic laughs . 
mais um momento inspirado de david fincher . 
a must for fans of british cinema , if only because so many titans of the industry are along for the ride . 
tsai has managed to create an underplayed melodrama about family dynamics and dysfunction that harks back to the spare , unchecked heartache of yasujiro ozu . 
until ( the ) superfluous . . . epilogue that leaks suspension of disbelief like a sieve , die another day is as stimulating & heart-rate-raising as any james bond thriller . 
it's a good film , but it falls short of its aspiration to be a true 'epic' . 
all the pieces fall together without much surprise , but little moments give it a boost . 
the beauty of alexander payne's ode to the everyman is in the details . 
a touching drama about old age and grief with a tour de force performance by michel piccoli . 
the ending feels at odds with the rest of the film . 
a tone of rueful compassion . . . reverberates throughout this film , whose meaning and impact is sadly heightened by current world events . 
a beautiful paean to a time long past . 
dense and thoughtful and brimming with ideas that are too complex to be rapidly absorbed . 
if you thought tom hanks was just an ordinary big-screen star , wait until you've seen him eight stories tall . 
with this masterful , flawless film , [wang] emerges in the front ranks of china's now numerous , world-renowned filmmakers . 
shyamalan offers copious hints along the way -- myriad signs , if you will -- that beneath the familiar , funny surface is a far bigger , far more meaningful story than one in which little green men come to earth for harvesting purposes . 
this film is an act of spiritual faith -- an eloquent , deeply felt meditation on the nature of compassion . 
a different kind of love story - one that is dark , disturbing , painful to watch , yet compelling . 
splendidly illustrates the ability of the human spirit to overcome adversity . 
a compelling , gut-clutching piece of advocacy cinema that carries you along in a torrent of emotion as it explores the awful complications of one terrifying day . 
she's as rude and profane as ever , always hilarious and , most of the time , absolutely right in her stinging social observations . 
to those who have not read the book , the film is a much better mother-daughter tale than last summer's 'divine secrets of the ya-ya sisterhood , ' but that's not saying much . 
even before it builds up to its insanely staged ballroom scene , in which 3000 actors appear in full regalia , it's waltzed itself into the art film pantheon . 
a thoughtful , reverent portrait of what is essentially a subculture , with its own rules regarding love and family , governance and hierarchy . 
it seems impossible that an epic four-hour indian musical about a cricket game could be this good , but it is . 
will certainly appeal to asian cult cinema fans and asiaphiles interested to see what all the fuss is about . 
touches smartly and wistfully on a number of themes , not least the notion that the marginal members of society . . . might benefit from a helping hand and a friendly kick in the pants . 
a wildly entertaining scan of evans' career . 
a mature , deeply felt fantasy of a director's travel through 300 years of russian history . 
boldly engineering a collision between tawdry b-movie flamboyance and grandiose spiritual anomie , rose's film , true to its source material , provides a tenacious demonstration of death as the great equalizer . 
a finely tuned mood piece , a model of menacing atmosphere . 
the salton sea has moments of inspired humour , though every scrap is of the darkest variety . 
both a beautifully made nature film and a tribute to a woman whose passion for this region and its inhabitants still shines in her quiet blue eyes . 
although shot with little style , skins is heartfelt and achingly real . 
harks back to a time when movies had more to do with imagination than market research . 
upsetting and thought-provoking , the film has an odd purity that doesn't bring you into the characters so much as it has you study them . 
a well-executed spy-thriller . 
a very pretty after-school special . it's an effort to watch this movie , but it eventually pays off and is effective if you stick with it . 
a harrowing account of a psychological breakdown . 
continually challenges perceptions of guilt and innocence , of good guys and bad , and asks us whether a noble end can justify evil means . 
it certainly won't win any awards in the plot department but it sets out with no pretensions and delivers big time . 
dog soldiers doesn't transcend genre -- it embraces it , energizes it and takes big bloody chomps out of it . 
at once emotional and richly analytical , the cosby-seinfeld encounter alone confirms the serious weight behind this superficially loose , larky documentary . 
it may scream low budget , but this charmer has a spirit that cannot be denied . 
'alice's adventure through the looking glass and into zombie-land' is filled with strange and wonderful creatures . 
without [de niro] , city by the sea would slip under the waves . he drags it back , single-handed . 
a good music documentary , probably one of the best since the last waltz . 
if the plot seems a bit on the skinny side , that's because panic room is interested in nothing more than sucking you in…and making you sweat . 
 . . . [the film] works , due mostly to the tongue-in-cheek attitude of the screenplay . 
the film becomes an overwhelming pleasure , and you find yourself rooting for gai's character to avoid the fate that has befallen every other carmen before her . 
broomfield has a rather unique approach to documentary . he thinks the film is just as much a document about him as it is about the subject . 
at its best when the guarded , resentful betty and the manipulative yet needy margot are front and center . 
gloriously straight from the vagina . 
it's excessively quirky and a little underconfident in its delivery , but otherwise this is the best 'old neighborhood' project since christopher walken kinda romanced cyndi lauper in the opportunists . 
the film oozes craft . 
robinson's web of suspense matches the page-turning frenzy that clancy creates . 
manages to be both hugely entertaining and uplifting . 
a classic fairy tale that perfectly captures the wonders and worries of childhood in a way that few movies have ever approached . 
it's the unsettling images of a war-ravaged land that prove more potent and riveting than the unlikely story of sarah and harrison . 
a wonderfully warm human drama that remains vividly in memory long after viewing
jaunty fun , with its celeb-strewn backdrop well used . 
recoing's fantastic performance doesn't exactly reveal what makes vincent tick , but perhaps any definitive explanation for it would have felt like a cheat . 
washington overcomes the script's flaws and envelops the audience in his character's anguish , anger and frustration . 
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 . 
a searing , epic treatment of a nationwide blight that seems to be , horrifyingly , ever on the rise . 
not a film for the faint of heart or conservative of spirit , but for the rest of us -- especially san francisco lovers -- it's a spirited film and a must-see . 
read my lips is to be viewed and treasured for its extraordinary intelligence and originality as well as its lyrical variations on the game of love . 
the color sense of stuart little 2 is its most immediate and most obvious pleasure , but it would count for very little if the movie weren't as beautifully shaped and as delicately calibrated in tone as it is . 
while [roman coppola] scores points for style , he staggers in terms of story . 
idiotic and ugly . 
any movie that makes hard work seem heroic deserves a look . 
it may not be a huge cut of above the rest , but i enjoyed barbershop . it's a funny little movie with clever dialogue and likeable characters . 
a different and emotionally reserved type of survival story -- a film less about refracting all of world war ii through the specific conditions of one man , and more about that man lost in its midst . 
it's sweet , funny , charming , and completely delightful . 
a perfectly competent and often imaginative film that lacks what little lilo & stitch had in spades -- charisma . 
beautifully shot against the frozen winter landscapes of grenoble and geneva , the film unfolds with all the mounting tension of an expert thriller , until the tragedy beneath it all gradually reveals itself . 
medem may have disrobed most of the cast , leaving their bodies exposed , but the plot remains as guarded as a virgin with a chastity belt . that's why sex and lucia is so alluring . 
an elegant work , food of love is as consistently engaging as it is revealing . 
although largely a heavy-handed indictment of parental failings and the indifference of spanish social workers and legal system towards child abuse , the film retains ambiguities that make it well worth watching . 
a behind the scenes look at the training and dedication that goes into becoming a world-class fencer and the champion that's made a difference to nyc inner-city youth . 
a brain twister , less a movie-movie than a funny and weird meditation on hollywood , success , artistic integrity and intellectual bankruptcy . 
a powerful , inflammatory film about religion that dares to question an ancient faith , and about hatred that offers no easy , comfortable resolution . 
in its own floundering way , it gets to you . just like igby . 
return to never land may be another shameless attempt by disney to rake in dough from baby boomer families , but it's not half-bad . 
wise and deadpan humorous . 
god bless crudup and his aversion to taking the easy hollywood road and cashing in on his movie-star gorgeousness . 
if signs is a good film , and it is , the essence of a great one is in there somewhere . 
veterans of the dating wars will smirk uneasily at the film's nightmare versions of everyday sex-in-the-city misadventures . 
schrader examines crane's decline with unblinking candor . 
you can watch , giggle and get an adrenaline boost without feeling like you've completely lowered your entertainment standards . 
it thankfully goes easy on the reel/real world dichotomy that [jaglom] pursued with such enervating determination in venice/venice . 
this rich , bittersweet israeli documentary , about the life of song-and-dance-man pasach'ke burstein and his family , transcends ethnic lines . 
sensitively examines general issues of race and justice among the poor , and specifically raises serious questions about the death penalty and asks what good the execution of a mentally challenged woman could possibly do . 
cool gadgets and creatures keep this fresh . not as good as the original , but what is . . . 
presents a side of contemporary chinese life that many outsiders will be surprised to know exists , and does so with an artistry that also smacks of revelation . 
[jeff's] gorgeous , fluid compositions , underlined by neil finn and edmund mcwilliams's melancholy music , are charged with metaphor , but rarely easy , obvious or self-indulgent . 
engages us in constant fits of laughter , until we find ourselves surprised at how much we care about the story , and end up walking out not only satisfied but also somewhat touched . 
a bilingual charmer , just like the woman who inspired it
blisteringly rude , scarily funny , sorrowfully sympathetic to the damage it surveys , the film has in kieran culkin a pitch-perfect holden . 
apuestas fuertes para el futuro del director , y apuestas bien fundadas , pues la suerte ya la tiene , y la cinta lo comprueba . . . . 
the fourth " pokemon " is a diverting--if predictable--adventure suitable for a matinee , with a message that cautions children about disturbing the world's delicate ecological balance . 
what one is left with , even after the most awful acts are committed , is an overwhelming sadness that feels as if it has made its way into your very bloodstream . 
[it] has the feel of a summer popcorn movie . nothing too deep or substantial . explosions , jokes , and sexual innuendoes abound . 
miyazaki's nonstop images are so stunning , and his imagination so vivid , that the only possible complaint you could have about spirited away is that there is no rest period , no timeout . 
 . . . a delightfully unpredictable , hilarious comedy with wonderful performances that tug at your heart in ways that utterly transcend gender labels . 
assured , vital and well wrought , the film is , arguably , the most accomplished work to date from hong kong's versatile stanley kwan . 
delia , greta , and paula rank as three of the most multilayered and sympathetic female characters of the year . as each of them searches for their place in the world , miller digs into their very minds to find an unblinking , flawed humanity . 
a surprisingly sweet and gentle comedy . 
shanghai ghetto , much stranger than any fiction , brings this unknown slice of history affectingly to life . 
it's not particularly well made , but since i found myself howling more than cringing , i'd say the film works . 
but this is lohman's film . her performance moves between heartbreak and rebellion as she continually tries to accommodate to fit in and gain the unconditional love she seeks . 
though its story is only surface deep , the visuals and enveloping sounds of blue crush make this surprisingly decent flick worth a summertime look-see . 
ryosuke has created a wry , winning , if languidly paced , meditation on the meaning and value of family . 
sometimes charming , sometimes infuriating , this argentinean 'dramedy' succeeds mainly on the shoulders of its actors . 
you may feel compelled to watch the film twice or pick up a book on the subject . 
often shocking but ultimately worthwhile exploration of motherhood and desperate mothers . 
a venturesome , beautifully realized psychological mood piece that reveals its first-time feature director's understanding of the expressive power of the camera . 
like the rugrats movies , the wild thornberrys movie doesn't offer much more than the series , but its emphasis on caring for animals and respecting other cultures is particularly welcome . 
taken outside the context of the current political climate ( see : terrorists are more evil than ever ! ) , the sum of all fears is simply a well-made and satisfying thriller . 
the setting is so cool that it chills the characters , reducing our emotional stake in the outcome of " intacto's " dangerous and seductively stylish game . 
a lovely and beautifully photographed romance . 
one of the most splendid entertainments to emerge from the french film industry in years . 
its vision of that awkward age when sex threatens to overwhelm everything else is acute enough to make everyone who has been there squirm with recognition . 
for almost the first two-thirds of martin scorsese's 168-minute gangs of new york , i was entranced . 
open-ended and composed of layer upon layer , talk to her is a cinephile's feast , an invitation to countless interpretations . 
one of the most slyly exquisite anti-adult movies ever made . 
what makes esther kahn so demanding is that it progresses in such a low-key manner that it risks monotony . but it's worth the concentration . 
neither the funniest film that eddie murphy nor robert de niro has ever made , showtime is nevertheless efficiently amusing for a good while . before it collapses into exactly the kind of buddy cop comedy it set out to lampoon , anyway . 
a clever script and skilled actors bring new energy to the familiar topic of office politics . 
the determination of pinochet's victims to seek justice , and their often heartbreaking testimony , spoken directly into director patricio guzman's camera , pack a powerful emotional wallop . 
disney aficionados will notice distinct parallels between this story and the 1971 musical " bedknobs and broomsticks , " which also dealt with british children rediscovering the power of fantasy during wartime . 
it's . . . worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles with a film whose very subject is , quite pointedly , about the peril of such efforts . 
dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten . 
it's a rollicking adventure for you and all your mateys , regardless of their ages . 
boasts a handful of virtuosic set pieces and offers a fair amount of trashy , kinky fun . 
 . . . myers has turned his franchise into the movie version of an adolescent dirty-joke book done up in post-tarantino pop-culture riffs . . . 
if you're down for a silly hack-and-slash flick , you can do no wrong with jason x . 
this is a very ambitious project for a fairly inexperienced filmmaker , but good actors , good poetry and good music help sustain it . 
the modern master of the chase sequence returns with a chase to end all chases
the messy emotions raging throughout this three-hour effort are instantly recognizable , allowing the film to paradoxically feel familiar and foreign at the same time . 
 . . . either you're willing to go with this claustrophobic concept or you're not . 
just watch bettany strut his stuff . you'll know a star when you see one . 
austin powers in goldmember is a cinematic car wreck , a catastrophic collision of tastelessness and gall that nevertheless will leave fans clamoring for another ride . 
you can fire a torpedo through some of clancy's holes , and the scripters don't deserve any oscars . but the nerve-raked acting , the crackle of lines , the impressive stagings of hardware , make for some robust and scary entertainment . 
contrasting the original ringu with the current americanized adaptation is akin to comparing the evil dead with evil dead ii
a small gem of a movie that defies classification and is as thought-provoking as it is funny , scary and sad . 
for a long time the film succeeds with its dark , delicate treatment of these characters and its unerring respect for them . 
it's the kind of effectively creepy-scary thriller that has you fixating on a far corner of the screen at times because your nerves just can't take it any more . 
late marriage is an in-your-face family drama and black comedy that is filled with raw emotions conveying despair and love . 
an ambitious and moving but bleak film . 
it's too harsh to work as a piece of storytelling , but as an intellectual exercise -- an unpleasant debate that's been given the drive of a narrative and that's been acted out -- the believer is nothing less than a provocative piece of work . 
it's sweet . it's funny . it wears its heart on the sleeve of its gaudy hawaiian shirt . and , thanks to the presence of 'the king , ' it also rocks . 
it's never laugh-out-loud funny , but it is frequently amusing . 
a bittersweet film , simple in form but rich with human events . 
the unexplored story opportunities of " punch-drunk love " may have worked against the maker's minimalist intent but it is an interesting exercise by talented writer/director anderson . 
 " punch-drunk love " is a little like a chocolate milk moustache . . . 
 . . . digs beyond the usual portrayals of good kids and bad seeds to reveal a more ambivalent set of characters and motivations . 
the beauty of the piece is that it counts heart as important as humor . 
piercingly affecting . . . while clearly a manipulative film , emerges as powerful rather than cloying . 
very amusing , not the usual route in a thriller , and the performances are odd and pixilated and sometimes both . 
while the frequent allusions to gurus and doshas will strike some westerners as verging on mumbo-jumbo . . . broad streaks of common sense emerge with unimpeachable clarity . 
the cast is phenomenal , especially the women . 
a marvel of production design . 
the byplay and bickering between the now spy-savvy siblings , carmen ( vega ) and juni ( sabara ) cortez , anchor the film in a very real and amusing give-and-take . 
good actors have a radar for juicy roles -- there's a plethora of characters in this picture , and not one of them is flat . 
though in some ways similar to catherine breillat's fat girl , rain is the far superior film . 
is not so much a work of entertainment as it is a unique , well-crafted psychological study of grief . 
remarkable for its excellent storytelling , its economical , compressed characterisations and for its profound humanity , it's an adventure story and history lesson all in one . 
colorful , energetic and sweetly whimsical . . . the rare sequel that's better than its predecessor . 
reno himself can take credit for most of the movie's success . he's one of the few 'cool' actors who never seems aware of his own coolness . 
significantly better than its 2002 children's-movie competition . 
ub equally spoofs and celebrates the more outre aspects of 'black culture' and the dorkier aspects of 'white culture , ' even as it points out how inseparable the two are . 
a lot smarter than your average bond . 
 . . . bright , intelligent , and humanly funny film . 
painful , horrifying and oppressively tragic , this film should not be missed . 
part of the film's cheeky charm comes from its vintage schmaltz . 
so unique and stubborn and charismatic that you want it to be better and more successful than it is . 
i won't argue with anyone who calls 'slackers' dumb , insulting , or childish . . . but i laughed so much that i didn't mind . 
it arrives with an impeccable pedigree , mongrel pep , and almost indecipherable plot complications . 
so fiendishly cunning that even the most jaded cinema audiences will leave the auditorium feeling dizzy , confused , and totally disorientated . not to mention absolutely refreshed . 
a vibrant , colorful , semimusical rendition . 
the film sometimes flags . . . but there is enough secondary action to keep things moving along at a brisk , amusing pace . 
it's a drawling , slobbering , lovable run-on sentence of a film , a southern gothic with the emotional arc of its raw blues soundtrack . 
nós gosta muito de as duas torres . 
nolan proves that he can cross swords with the best of them and helm a more traditionally plotted popcorn thriller while surrendering little of his intellectual rigor or creative composure . 
it is different from others in its genre in that it is does not rely on dumb gags , anatomical humor , or character cliches ; it primarily relies on character to tell its story . 
both a successful adaptation and an enjoyable film in its own right . 
all the filmmakers are asking of us , is to believe in something that is improbable . 
if the very concept makes you nervous . . . you'll have an idea of the film's creepy , scary effectiveness . 
worth a look by those on both sides of the issues , if only for the perspective it offers , one the public rarely sees . 
a mostly believable , refreshingly low-key and quietly inspirational little sports drama . 
may be more genial than ingenious , but it gets the job done . 
a stylish cast and some clever scripting solutions help chicago make the transition from stage to screen with considerable appeal intact . 
exhilarating , funny and fun . 
while not quite " shrek " or monsters , inc . " , it's not too bad . it's worth taking the kids to . 
in the end there is one word that best describes this film : honest . 
writer-director david jacobson and his star , jeremy renner , have made a remarkable film that explores the monster's psychology not in order to excuse him but rather to demonstrate that his pathology evolved from human impulses that grew hideously twisted . 
the action sequences are fun and reminiscent of combat scenes from the star wars series . 
norton is magnetic as graham . 
savvy director robert j . siegel and his co-writers keep the story subtle and us in suspense . 
it pulls the rug out from under you , just when you're ready to hate one character , or really sympathize with another character , something happens to send you off in different direction . 
twenty years after its first release , e . t . remains the most wondrous of all hollywood fantasies -- and the apex of steven spielberg's misunderstood career . 
it says a lot about a filmmaker when he can be wacky without clobbering the audience over the head and still maintain a sense of urgency and suspense . 
gives us a lot to chew on , but not all of it has been properly digested . 
it's an exhilarating place to visit , this laboratory of laughter . 
 " simone " is a fun and funky look into an artificial creation in a world that thrives on artificiality . 
a great companion piece to other napoleon films . 
to some eyes this will seem like a recycling of clichés , an assassin's greatest hits . to others , it will remind them that hong kong action cinema is still alive and kicking . 
gran historia sobre el amor , la familia , la lealtad y la traición que seguramente se convertirá en un nuevo clásico del género . 
at the end of the movie , my 6-year-old nephew said , " i guess i come from a broken family , and my uncles are all aliens , too . " congrats disney on a job well done , i enjoyed it just as much ! 
a remarkably alluring film set in the constrictive eisenhower era about one suburban woman's yearning in the face of a loss that shatters her cheery and tranquil suburban life . 
berling and béart . . . continue to impress , and isabelle huppert . . . again shows uncanny skill in getting under the skin of her characters . 
uplifting , funny and wise . 
remarkable for its intelligence and intensity . 
the hypnotic imagery and fragmentary tale explore the connections between place and personal identity . 
brosnan is more feral in this film than i've seen him before and halle berry does her best to keep up with him . 
a film that begins with the everyday lives of naval personnel in san diego and ends with scenes so true and heartbreaking that tears welled up in my eyes both times i saw the film . 
a funny film . 
 " on guard ! " won't be placed in the pantheon of the best of the swashbucklers but it is a whole lot of fun and you get to see the one of the world's best actors , daniel auteuil , have a whale of a good time . 
the movie starts with a legend and ends with a story that is so far-fetched it would be impossible to believe if it weren't true . this is the stuff that disney movies are made of . 
like all great films about a life you never knew existed , it offers much to absorb and even more to think about after the final frame . 
that the e-graveyard holds as many good ideas as bad is the cold comfort that chin's film serves up with style and empathy . 
while we no longer possess the lack-of-attention span that we did at seventeen , we had no trouble sitting for blade ii . 
like a poor man's you can count on me
 . . . a solid , unassuming drama . 
a seriocomic debut of extravagant promise by georgian-israeli director dover kosashvili . 
thanks to ice cube , benjamins feels an awful lot like friday in miami . 
though the film is static , its writer-director's heart is in the right place , his plea for democracy and civic action laudable . 
the real star of this movie is the score , as in the songs translate well to film , and it's really well directed . 
it's rare to find a film to which the adjective 'gentle' applies , but the word perfectly describes pauline & paulette . 
my wife is an actress has its moments in looking at the comic effects of jealousy . in the end , though , it is only mildly amusing when it could have been so much more . 
both garcia and jagger turn in perfectly executed and wonderfully sympathetic characters , who are alternately touching and funny . 
humorous , artsy , and even cute , in an off-kilter , dark , vaguely disturbing way . 
the more you think about the movie , the more you will probably like it . 
 . . . a powerful sequel and one of the best films of the year . 
for the most part , the film does hold up pretty well . 
together [time out and human resources] establish mr . cantet as france's foremost cinematic poet of the workplace . 
the filmmaker's heart is in the right place . . . 
you can take the grandkids or the grandparents and never worry about anyone being bored . . . audience is a sea of constant smiles and frequent laughter . 
like these russo guys lookin' for their mamet instead found their sturges . 
[a] satisfying niblet . 
there has been a string of ensemble cast romances recently . . . but peter mattei's love in the time of money sets itself apart by forming a chain of relationships that come full circle to end on a positive ( if tragic ) note . 
by applying definition to both sides of the man , the picture realizes a fullness that does not negate the subject . 
who is the audience for cletis tout ? anybody who enjoys quirky , fun , popcorn movies with a touch of silliness and a little bloodshed . 
[cuarón has] created a substantive movie out of several cliched movie structures : the road movie , the coming-of-age movie , and the teenage sex comedy . 
puts to rest any thought that the german film industry cannot make a delightful comedy centering on food . 
poetic , heartbreaking . 
witty dialog between realistic characters showing honest emotions . it's touching and tender and proves that even in sorrow you can find humor . like blended shades of lipstick , these components combine into one terrific story with lots of laughs . 
<em>ash wednesday</em> is not edward burns' best film , but it is a good and ambitious film . and it marks him as one of the most interesting writer/directors working today . 
after one gets the feeling that the typical hollywood disregard for historical truth and realism is at work here , it's a matter of finding entertainment in the experiences of zishe and the fiery presence of hanussen . 
the footage of the rappers at play and the prison interview with suge knight are just two of the elements that will grab you . 
 . . . it's as comprehensible as any dummies guide , something even non-techies can enjoy . 
don't wait to see this terrific film with your kids -- if you don't have kids borrow some . 
moretti . . . is the rare common-man artist who's wise enough to recognize that there are few things in this world more complex -- and , as it turns out , more fragile -- than happiness . 
the movie's captivating details are all in the performances , from foreman's barking-mad taylor to thewlis's smoothly sinister freddie and bettany/mcdowell's hard-eyed gangster . 
features fincher's characteristically startling visual style and an almost palpable sense of intensity . 
precocious smarter-than-thou wayward teen struggles to rebel against his oppressive , right-wing , propriety-obsessed family . anyone else seen this before ? 
moore provides an invaluable service by sparking debate and encouraging thought . better still , he does all of this , and more , while remaining one of the most savagely hilarious social critics this side of jonathan swift . 
alternating between facetious comic parody and pulp melodrama , this smart-aleck movie . . . tosses around some intriguing questions about the difference between human and android life . 
a cutesy romantic tale with a twist . 
this is a gorgeous film - vivid with color , music and life . delight your senses and crash this wedding ! 
a brutally dry satire of middle american numbness . 
more sophisticated and literate than such pictures usually are . . . an amusing little catch . 
smith examines the intimate , unguarded moments of folks who live in unusual homes -- which pop up in nearly every corner of the country . 
with an admirably dark first script by brent hanley , paxton , making his directorial feature debut , does strong , measured work . 
a compelling french psychological drama examining the encounter of an aloof father and his chilly son after 20 years apart . 
 . . . even if you've never heard of chaplin , you'll still be glued to the screen . 
you have enough finely tuned acting to compensate for the movie's failings . 
as the dominant christine , sylvie testud is icily brilliant . 
although tender and touching , the movie would have benefited from a little more dramatic tension and some more editing . 
the story that emerges has elements of romance , tragedy and even silent-movie comedy . 
[ " safe conduct " ] is a long movie at 163 minutes but it fills the time with drama , romance , tragedy , bravery , political intrigue , partisans and sabotage . viva le resistance ! 
it offers a glimpse of the solomonic decision facing jewish parents in those turbulent times : to save their children and yet to lose them . 
the film is delicately narrated by martin landau and directed with sensitivity and skill by dana janklowicz-mann . 
martyr gets royally screwed and comes back for more . 
a virtual roller-coaster ride of glamour and sleaze . 
an admirable , sometimes exceptional film
if you like an extreme action-packed film with a hint of humor , then triple x marks the spot . 
from blushing to gushing---imamura squirts the screen in ‘warm water under a red bridge'
if you're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you -– decasia
may not be a breakthrough in filmmaking , but it is unwavering and arresting . 
the film's images give a backbone to the company and provide an emotional edge to its ultimate demise . 
a bodice-ripper for intellectuals . 
the locations go from stark desert to gorgeous beaches . the story plays out slowly , but the characters are intriguing and realistic . 
count on his movie to work at the back of your neck long after you leave the theater . 
neil burger here succeeded in . . . making the mystery of four decades back the springboard for a more immediate mystery in the present . 
the complex , politically charged tapestry of contemporary chinese life this exciting new filmmaker has brought to the screen is like nothing we westerners have seen before . 
a thriller made from a completist's checklist rather than with a cultist's passion . 
try as you might to scrutinize the ethics of kaufman's approach , somehow it all comes together to create a very compelling , sensitive , intelligent and almost cohesive piece of film entertainment . 
as quiet , patient and tenacious as mr . lopez himself , who approaches his difficult , endless work with remarkable serenity and discipline . 
though the film never veers from its comic course , its unintentional parallels might inadvertently evoke memories and emotions which are anything but humorous . 
evokes the style and flash of the double-cross that made mamet's " house of games " and last fall's " heist " so much fun . 
so original in its base concept that you cannot help but get caught up . 
it may be a no-brainer , but at least it's a funny no-brainer . 
a lot more dimensional and complex than its sunny disposition would lead you to believe . 
jeffs has created a breathtakingly assured and stylish work of spare dialogue and acute expressiveness . 
underachieves only in not taking the shakespeare parallels quite far enough . 
the most audacious , outrageous , sexually explicit , psychologically probing , pure libido film of the year has arrived from portugal . 
the creative animation work may not look as fully 'rendered' as pixar's industry standard , but it uses lighting effects and innovative backgrounds to an equally impressive degree . 
art-house to the core , read my lips is a genre-curling crime story that revives the free-wheeling noir spirit of old french cinema . 
grant is certainly amusing , but the very hollowness of the character he plays keeps him at arms length
conceptually brilliant . . . plays like a living-room war of the worlds , gaining most of its unsettling force from the suggested and the unknown . 
 . . . manages to deliver a fair bit of vampire fun . 
drama of temptation , salvation and good intentions is a thoughtful examination of faith , love and power . 
the strength of the film comes not from any cinematic razzle-dazzle but from its recovery of an historical episode that , in the simple telling , proves simultaneously harrowing and uplifting . 
the performances are strong , though the subject matter demands acting that borders on hammy at times . 
a damn fine and a truly distinctive and a deeply pertinent film . 
still rapturous after all these years , cinema paradiso stands as one of the great films about movie love . 
reggio and glass put on an intoxicating show . 
macdowell . . . gives give a solid , anguished performance that eclipses nearly everything else she's ever done . 
the thing about guys like evans is this : you're never quite sure where self-promotion ends and the truth begins . but as you watch the movie , you're too interested to care . 
i liked a lot of the smaller scenes . 
the film will appeal to discovery channel fans and will surely widen the perspective of those of us who see the continent through rose-colored glasses . 
an eye-boggling blend of psychedelic devices , special effects and backgrounds , 'spy kids 2' is a visual treat for all audiences . 
formuliac , but fun . 
straightforward and old-fashioned in the best possible senses of both those words , possession is a movie that puts itself squarely in the service of the lovers who inhabit it . 
it may . . . work as a jaunt down memory lane for teens and young adults who grew up on televised scooby-doo shows or reruns . 
one of those movies that catches you up in something bigger than yourself , namely , an archetypal desire to enjoy good trash every now and then . 
this harrowing journey into combat hell vividly captures the chaotic insanity and personal tragedies that are all too abundant when human hatred spews forth unchecked . 
far more successful , if considerably less ambitious , than last year's kubrick-meets-spielberg exercise . 
apart from anything else , this is one of the best-sustained ideas i have ever seen on the screen . 
'pocas veces es posible ver un elenco tan compenetrado con la historia , donde todos y cada uno de los actores ofrecen actuaciones verdaderamente memorables . '
elling builds gradually until you feel fully embraced by this gentle comedy . 
a fascinating examination of the joyous , turbulent self-discovery made by a proper , middle-aged woman . 
here is a vh1 behind the music special that has something a little more special behind it : music that didn't sell many records but helped change a nation . 
buy popcorn . take nothing seriously and enjoy the ride . 
carrying off a spot-on scottish burr , duvall ( also a producer ) peels layers from this character that may well not have existed on paper . 
the acting , for the most part , is terrific , although the actors must struggle with the fact that they're playing characters who sometimes feel more like literary conceits than flesh-and-blood humans . 
some body will take you places you haven't been , and also places you have . 
vereté has a whip-smart sense of narrative bluffs . 
parts of the film feel a bit too much like an infomercial for ram dass's latest book aimed at the boomer demographic . but mostly it's a work that , with humor , warmth , and intelligence , captures a life interestingly lived . 
were it not for a sentimental resolution that explains way more about cal than does the movie or the character any good , freundlich's world traveler might have been one of the more daring and surprising american movies of the year . 
 " home movie " is the film equivalent of a lovingly rendered coffee table book . 
graphic sex may be what's attracting audiences to unfaithful , but gripping performances by lane and gere are what will keep them awake . 
when compared to the usual , more somber festival entries , davis' highly personal brand of romantic comedy is a tart , smart breath of fresh air that stands out from the pack even if the picture itself is somewhat problematic . 
feels untidily honest . 
both damning and damned compelling . 
much has been written about those years when the psychedelic '60s grooved over into the gay '70s , but words don't really do the era justice . you have to see it . 
even if it pushes its agenda too forcefully , this remains a film about something , one that attempts and often achieves a level of connection and concern . 
what lifts the film high above run-of-the-filth gangster flicks is its refusal to recognise any of the signposts , as if discovering a way through to the bitter end without a map . 
we've seen the hippie-turned-yuppie plot before , but there's an enthusiastic charm in <i ? fire that makes the formula fresh again . 
both an admirable reconstruction of terrible events , and a fitting memorial to the dead of that day , and of the thousands thereafter . 
a sly dissection of the inanities of the contemporary music business and a rather sad story of the difficulties of artistic collaboration . 
the unique niche of self-critical , behind-the-scenes navel-gazing kaufman has carved from orleans' story and his own infinite insecurity is a work of outstanding originality . 
lovingly photographed in the manner of a golden book sprung to life , stuart little 2 manages sweetness largely without stickiness . 
consistently clever and suspenseful . 
it's like a " big chill " reunion of the baader-meinhof gang , only these guys are more harmless pranksters than political activists . 
the story gives ample opportunity for large-scale action and suspense , which director shekhar kapur supplies with tremendous skill . 
red dragon " never cuts corners . 
fresnadillo has something serious to say about the ways in which extravagant chance can distort our perspective and throw us off the path of good sense . 
throws in enough clever and unexpected twists to make the formula feel fresh . 
weighty and ponderous but every bit as filling as the treat of the title . 
a real audience-pleaser that will strike a chord with anyone who's ever waited in a doctor's office , emergency room , hospital bed or insurance company office . 
generates an enormous feeling of empathy for its characters . 
exposing the ways we fool ourselves is one hour photo's real strength . 
it's up to you to decide whether to admire these people's dedication to their cause or be repelled by their dogmatism , manipulativeness and narrow , fearful view of american life . 
mostly , [goldbacher] just lets her complicated characters be unruly , confusing and , through it all , human . 
 . . . quite good at providing some good old fashioned spooks . 
at its worst , the movie is pretty diverting ; the pity is that it rarely achieves its best . 
scherfig's light-hearted profile of emotional desperation is achingly honest and delightfully cheeky . 
a journey spanning nearly three decades of bittersweet camaraderie and history , in which we feel that we truly know what makes holly and marina tick , and our hearts go out to them as both continue to negotiate their imperfect , love-hate relationship . 
the wonderfully lush morvern callar is pure punk existentialism , and ms . ramsay and her co-writer , liana dognini , have dramatized the alan warner novel , which itself felt like an answer to irvine welsh's book trainspotting . 
as it turns out , you can go home again . 
you've already seen city by the sea under a variety of titles , but it's worth yet another visit . 
this kind of hands-on storytelling is ultimately what makes shanghai ghetto move beyond a good , dry , reliable textbook and what allows it to rank with its worthy predecessors . 
making such a tragedy the backdrop to a love story risks trivializing it , though chouraqui no doubt intended the film to affirm love's power to help people endure almost unimaginable horror . 
grown-up quibbles are beside the point here . the little girls understand , and mccracken knows that's all that matters . 
a powerful , chilling , and affecting study of one man's dying fall . 
this is a fascinating film because there is no clear-cut hero and no all-out villain . 
a dreadful day in irish history is given passionate , if somewhat flawed , treatment . 
 . . . a good film that must have baffled the folks in the marketing department . 
 . . . is funny in the way that makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important , warm without ever succumbing to sentimentality . 
devotees of star trek ii : the wrath of khan will feel a nagging sense of deja vu , and the grandeur of the best next generation episodes is lacking . 
a soul-stirring documentary about the israeli/palestinian conflict as revealed through the eyes of some children who remain curious about each other against all odds . 
what's so striking about jolie's performance is that she never lets her character become a caricature -- not even with that radioactive hair . 
the main story . . . is compelling enough , but it's difficult to shrug off the annoyance of that chatty fish . 
the performances are immaculate , with roussillon providing comic relief . 
kinnear . . . gives his best screen performance with an oddly winning portrayal of one of life's ultimate losers . 
hugh grant , who has a good line in charm , has never been more charming than in about a boy . 
there's a lot of tooth in roger dodger . but what's nice is that there's a casual intelligence that permeates the script . 
reminiscent of alfred hitchcock's thrillers , most of the scary parts in 'signs' occur while waiting for things to happen . 
one of the best looking and stylish animated movies in quite a while . . . 
its use of the thriller form to examine the labyrinthine ways in which people's lives cross and change , buffeted by events seemingly out of their control , is intriguing , provocative stuff . 
denver should not get the first and last look at one of the most triumphant performances of vanessa redgrave's career . it deserves to be seen everywhere . 
you needn't be steeped in '50s sociology , pop culture or movie lore to appreciate the emotional depth of haynes' work . though haynes' style apes films from the period . . . its message is not rooted in that decade . 
waiting for godard can be fruitful : 'in praise of love' is the director's epitaph for himself . 
a gangster movie with the capacity to surprise . 
the film has a laundry list of minor shortcomings , but the numerous scenes of gory mayhem are worth the price of admission . . . if " gory mayhem " is your idea of a good time . 
if not a home run , then at least a solid base hit . 
goldmember is funny enough to justify the embarrassment of bringing a barf bag to the moviehouse . 
 . . . a fairly disposable yet still entertaining b picture . 
it may not be particularly innovative , but the film's crisp , unaffected style and air of gentle longing make it unexpectedly rewarding . 
the film truly does rescue [the funk brothers] from motown's shadows . it's about time . 
drawing on an irresistible , languid romanticism , byler reveals the ways in which a sultry evening or a beer-fueled afternoon in the sun can inspire even the most retiring heart to venture forth . 
works because we're never sure if ohlinger's on the level or merely a dying , delusional man trying to get into the history books before he croaks . 
[scherfig] has made a movie that will leave you wondering about the characters' lives after the clever credits roll . 
a heady , biting , be-bop ride through nighttime manhattan , a loquacious videologue of the modern male and the lengths to which he'll go to weave a protective cocoon around his own ego . 
skin of man gets a few cheap shocks from its kids-in-peril theatrics , but it also taps into the primal fears of young people trying to cope with the mysterious and brutal nature of adults . 
the piano teacher is not an easy film . it forces you to watch people doing unpleasant things to each other and themselves , and it maintains a cool distance from its material that is deliberately unsettling . 
as refreshing as a drink from a woodland stream . 
williams absolutely nails sy's queasy infatuation and overall strangeness . 
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 ? 
while it's nothing we haven't seen before from murphy , i spy is still fun and enjoyable and so aggressively silly that it's more than a worthwhile effort . 
by the time it ends in a rush of sequins , flashbulbs , blaring brass and back-stabbing babes , it has said plenty about how show business has infiltrated every corner of society -- and not always for the better . 
an intimate contemplation of two marvelously messy lives . 
rarely has skin looked as beautiful , desirable , even delectable , as it does in trouble every day . 
this is one of those rare docs that paints a grand picture of an era and makes the journey feel like a party . 
poignant if familiar story of a young person suspended between two cultures . 
a metaphor for a modern-day urban china searching for its identity . 
for all its brooding quality , ash wednesday is suspenseful and ultimately unpredictable , with a sterling ensemble cast . 
an odd drama set in the world of lingerie models and bar dancers in the midwest that held my interest precisely because it didn't try to . 
the film feels uncomfortably real , its language and locations bearing the unmistakable stamp of authority . 
despite its faults , gangs excels in spectacle and pacing . 
entertaining despite its one-joke premise with the thesis that women from venus and men from mars can indeed get together . 
a tightly directed , highly professional film that's old-fashioned in all the best possible ways . 
it's dark but has wonderfully funny moments ; you care about the characters ; and the action and special effects are first-rate . 
in visual fertility treasure planet rivals the top japanese animations of recent vintage . 
enormously enjoyable , high-adrenaline documentary . 
buy is an accomplished actress , and this is a big , juicy role . 
it works its magic with such exuberance and passion that the film's length becomes a part of its fun . 
beautifully crafted and brutally honest , promises offers an unexpected window into the complexities of the middle east struggle and into the humanity of its people . 
an old-fashioned but emotionally stirring adventure tale of the kind they rarely make anymore . 
charlotte sometimes is a gem . it's always enthralling . 
in my opinion , analyze that is not as funny or entertaining as analyze this , but it is a respectable sequel . 
a remarkable film by bernard rose . 
zhuangzhuang creates delicate balance of style , text , and subtext that's so simple and precise that anything discordant would topple the balance , but against all odds , nothing does . 
a much more successful translation than its most famous previous film adaptation , writer-director anthony friedman's similarly updated 1970 british production . 
an original and highly cerebral examination of the psychopathic mind
michel piccoli's moving performance is this films reason for being . 
a captivating and intimate study about dying and loving . . . 
this is an elegantly balanced movie -- every member of the ensemble has something fascinating to do -- that doesn't reveal even a hint of artifice . 
[grant] goes beyond his usual fluttering and stammering and captures the soul of a man in pain who gradually comes to recognize it and deal with it . 
a high-spirited buddy movie about the reunion of berlin anarchists who face arrest 15 years after their crime . 
about the best thing you could say about narc is that it's a rock-solid little genre picture . whether you like it or not is basically a matter of taste . 
an involving , inspirational drama that sometimes falls prey to its sob-story trappings . 
some of the most inventive silliness you are likely to witness in a movie theatre for some time . 
canadian filmmaker gary burns' inventive and mordantly humorous take on the soullessness of work in the city . 
a rollicking ride , with jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and a boffo last hour that leads up to a strangely sinister happy ending . 
everyone's insecure in lovely and amazing , a poignant and wryly amusing film about mothers , daughters and their relationships . 
the closest thing to the experience of space travel
full of surprises . 
connoisseurs of chinese film will be pleased to discover that tian's meticulous talent has not withered during his enforced hiatus . 
if you can push on through the slow spots , you'll be rewarded with some fine acting . 
an unusually dry-eyed , even analytical approach to material that is generally played for maximum moisture . 
symbolically , warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal . 
spy kids 2 also happens to be that rarity among sequels : it actually improves upon the original hit movie . 
exceptionally well acted by diane lane and richard gere . 
like a precious and finely cut diamond , magnificent to behold in its sparkling beauty yet in reality it's one tough rock . 
in addition to scoring high for originality of plot -- putting together familiar themes of family , forgiveness and love in a new way -- lilo & stitch has a number of other assets to commend it to movie audiences both innocent and jaded . 
miller has crafted an intriguing story of maternal instincts and misguided acts of affection . 
one of the most exciting action films to come out of china in recent years . 
this is a nervy , risky film , and villeneuve has inspired croze to give herself over completely to the tormented persona of bibi . 
my little eye is the best little " horror " movie i've seen in years . 
tunney , brimming with coltish , neurotic energy , holds the screen like a true star . 
even if the naipaul original remains the real masterpiece , the movie possesses its own languorous charm . 
[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 . 
sometimes we feel as if the film careens from one colorful event to another without respite , but sometimes it must have seemed to frida kahlo as if her life did , too . 
the strength of the film lies in its two central performances by sven wollter as the stricken composer and viveka seldahl as his desperate violinist wife . 
like the series , the movie is funny , smart , visually inventive , and most of all , alive . 
it was filled with shootings , beatings , and more cussing than you could shake a stick at . 
you don't know whether to admire the film's stately nature and call it classicism or be exasperated by a noticeable lack of pace . or both . 
sure , i hated myself in the morning . but then again , i hate myself most mornings . i still like moonlight mile , better judgment be damned . 
time out is as serious as a pink slip . and more than that , it's an observant , unfussily poetic meditation about identity and alienation . 
will assuredly rank as one of the cleverest , most deceptively amusing comedies of the year . 
maryam is a small film , but it offers large rewards . 
a highly watchable , giggly little story with a sweet edge to it . 
the most consistently funny of the austin powers films . 
ana's journey is not a stereotypical one of self-discovery , as she's already comfortable enough in her own skin to be proud of her rubenesque physique . . . 
cockettes has the glorious , gaudy benefit of much stock footage of those days , featuring all manner of drag queen , bearded lady and lactating hippie . 
there's something poignant about an artist of 90-plus years taking the effort to share his impressions of life and loss and time and art with us . 
the comedy makes social commentary more palatable . 
an ideal love story for those intolerant of the more common saccharine genre . 
one funny popcorn flick . 
this new zealand coming-of-age movie isn't really about anything . when it's this rich and luscious , who cares ? 
tully is worth a look for its true-to-life characters , its sensitive acting , its unadorned view of rural life and the subtle direction of first-timer hilary birmingham . 
this gorgeous epic is guaranteed to lift the spirits of the whole family . 
the wild thornberrys movie is pleasant enough and the message of our close ties with animals can certainly not be emphasized enough . 
williams creates a stunning , taxi driver-esque portrayal of a man teetering on the edge of sanity . 
if you're in the right b-movie frame of mind , it may just scare the pants off you . 
a movie of riveting power and sadness . 
both a detective story and a romance spiced with the intrigue of academic skullduggery and politics . 
quietly engaging . 
ludicrous , but director carl franklin adds enough flourishes and freak-outs to make it entertaining . 
director roger kumble offers just enough sweet and traditional romantic comedy to counter the crudity . and there's the inimitable diaz , holding it all together . 
spielberg's picture is smarter and subtler than [total recall and blade runner] , although its plot may prove too convoluted for fun-seeking summer audiences . 
it's got all the familiar bruckheimer elements , and schumacher does probably as good a job as anyone at bringing off the hopkins/rock collision of acting styles and onscreen personas . 
a grittily beautiful film that looks , sounds , and feels more like an extended , open-ended poem than a traditionally structured story . 
dense , exhilarating documentary . 
the production values are of the highest and the performances attractive without being memorable . 
a well-rounded tribute to a man whose achievements -- and complexities -- reached far beyond the end zone . 
finely crafted , finely written , exquisitely performed
ramsay and morton fill this character study with poetic force and buoyant feeling . 
this submarine drama earns the right to be favorably compared to das boot . 
claude chabrol's camera has a way of gently swaying back and forth as it cradles its characters , veiling tension beneath otherwise tender movements . 
there's a great deal of corny dialogue and preposterous moments . and yet , it still works . 
the film was immensely enjoyable thanks to great performances by both steve buscemi and rosario dawson . . . 
like many western action films , this thriller is too loud and thoroughly overbearing , but its heartfelt concern about north korea's recent past and south korea's future adds a much needed moral weight . 
special p . o . v . camera mounts on bikes , skateboards , and motorcycles provide an intense experience when splashed across the immense imax screen . 
a joyous occasion
mike white's deft combination of serious subject matter and dark , funny humor make " " the good girl " a film worth watching . 
this is a shrewd and effective film from a director who understands how to create and sustain a mood . 
meant to reduce blake's philosophy into a tragic coming-of-age saga punctuated by bursts of animator todd mcfarlane's superhero dystopia . 
assayas' ambitious , sometimes beautiful adaptation of jacques chardonne's novel . 
as ex-marine walter , who may or may not have shot kennedy , actor raymond j . barry is perfectly creepy and believable . 
those who don't entirely 'get' godard's distinctive discourse will still come away with a sense of his reserved but existential poignancy . 
pete's screenplay manages to find that real natural , even-flowing tone that few movies are able to accomplish . 
like brosnan's performance , evelyn comes from the heart . 
it uses some of the figures from the real-life story to portray themselves in the film . the result is a powerful , naturally dramatic piece of low-budget filmmaking . 
its spirit of iconoclastic abandon -- however canned -- makes for unexpectedly giddy viewing . 
the early and middle passages are surprising in how much they engage and even touch us . this is not a classical dramatic animated feature , nor a hip , contemporary , in-jokey one . it's sort of in-between , and it works . 
this quiet , introspective and entertaining independent is worth seeking . 
whether our action-and-popcorn obsessed culture will embrace this engaging and literate psychodrama isn't much of a mystery , unfortunately . 
whether or not ram dass proves as clear and reliable an authority on that as he was about inner consciousness , fierce grace reassures us that he will once again be an honest and loving one . 
sly , sophisticated and surprising . 
spare but quietly effective retelling . 
demonstrates a vivid imagination and an impressive style that result in some terrific setpieces . 
by its modest , straight-ahead standards , undisputed scores a direct hit . 
its story about a young chinese woman , ah na , who has come to new york city to replace past tragedy with the american dream is one that any art-house moviegoer is likely to find compelling . 
for those who like quirky , slightly strange french films , this is a must ! 
there are so few films about the plight of american indians in modern america that skins comes as a welcome , if downbeat , missive from a forgotten front . 
[shyamalan] continues to cut a swathe through mainstream hollywood , while retaining an integrity and refusing to compromise his vision . 
a whale of a good time for both children and parents seeking christian-themed fun . 
what begins as a film in the tradition of the graduate quickly switches into something more recyclable than significant . 
much smarter and more attentive than it first sets out to be . 
the story is smart and entirely charming in intent and execution . 
a movie of technical skill and rare depth of intellect and feeling . 
represents a worthy departure from the culture clash comedies that have marked an emerging indian american cinema . 
doesn't do more than expand a tv show to movie length . however , it's pleasant enough and its ecological , pro-wildlife sentiments are certainly welcome . 
if you're looking for an intelligent movie in which you can release your pent up anger , enough is just the ticket you need . 
a pointed , often tender , examination of the pros and cons of unconditional love and familial duties . 
as well-acted and well-intentioned as all or nothing is , however , the film comes perilously close to being too bleak , too pessimistic and too unflinching for its own good . 
a comedy-drama of nearly epic proportions rooted in a sincere performance by the title character undergoing midlife crisis . 
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 . 
elegantly produced and expressively performed , the six musical numbers crystallize key plot moments into minutely detailed wonders of dreamlike ecstasy . 
enriched by a strong and unforced supporting cast . 
writer/ director m . night shyamalan's ability to pull together easily accessible stories that resonate with profundity is undeniable . 
if you can keep your eyes open amid all the blood and gore , you'll see del toro has brought unexpected gravity to blade ii . 
not a strike against yang's similarly themed yi yi , but i found what time ? to be more engaging on an emotional level , funnier , and on the whole less detached . 
a breathtaking adventure for all ages , spirit tells its poignant and uplifting story in a stunning fusion of music and images . 
a charming and funny story of clashing cultures and a clashing mother/daughter relationship . 
never lets go your emotions , taking them to surprising highs , sorrowful lows and hidden impulsive niches . . . gorgeous , passionate , and at times uncommonly moving . 
 " . . . something appears to have been lost in the translation this time . the importance of being earnest movie seems to be missing a great deal of the acerbic repartee of the play . " 
[washington's] strong hand , keen eye , sweet spirit and good taste are reflected in almost every scene . 
shiner can certainly go the distance , but isn't world championship material
the film's desire to be liked sometimes undermines the possibility for an exploration of the thornier aspects of the nature/nurture argument in regards to homosexuality . 
 . . . a quietly introspective portrait of the self-esteem of employment and the shame of losing a job . . . 
affable if not timeless , like mike raises some worthwhile themes while delivering a wholesome fantasy for kids . 
a film of delicate interpersonal dances . caine makes us watch as his character awakens to the notion that to be human is eventually to have to choose . it's a sight to behold . 
it's an unusual , thoughtful bio-drama with a rich subject and some fantastic moments and scenes . 
saved from being merely way-cool by a basic , credible compassion . 
the increasingly diverse french director has created a film that one can honestly describe as looking , sounding and simply feeling like no other film in recent history . 
gangs , despite the gravity of its subject matter , is often as fun to watch as a good spaghetti western . 
peter jackson has done the nearly impossible . he has improved upon the first and taken it a step further , richer and deeper . what jackson has done is proven that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery
there has to be a few advantages to never growing old . like being able to hit on a 15-year old when you're over 100 . 
ice age won't drop your jaw , but it will warm your heart , and i'm giving it a strong thumbs up . 
like kissing jessica stein , amy's orgasm has a key strength in its willingness to explore its principal characters with honesty , insight and humor . 
the lady and the duke is eric rohmer's economical antidote to the bloated costume drama
one of the year's best films , featuring an oscar-worthy performance by julianne moore . 
a small gem from belgium . 
combines a comically dismal social realism with a farcically bawdy fantasy of redemption and regeneration . 
a soap-opera quality twist in the last 20 minutes . . . almost puts the kibosh on what is otherwise a sumptuous work of b-movie imagination . 
the most ingenious film comedy since being john malkovich . 
there's something to be said for a studio-produced film that never bothers to hand viewers a suitcase full of easy answers . 
a movie where story is almost an afterthought amidst a swirl of colors and inexplicable events . 
manages to accomplish what few sequels can -- it equals the original and in some ways even betters it . 
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 . 
jolie gives it that extra little something that makes it worth checking out at theaters , especially if you're in the mood for something more comfortable than challenging . 
although melodramatic and predictable , this romantic comedy explores the friendship between five filipino-americans and their frantic efforts to find love . 
i have a new favorite musical -- and i'm not even a fan of the genre
it's unlikely we'll see a better thriller this year . 
there is a real subject here , and it is handled with intelligence and care . 
jason patric and ray liotta make for one splendidly cast pair . 
noyce creates a film of near-hypnotic physical beauty even as he tells a story as horrifying as any in the heart-breakingly extensive annals of white-on-black racism . 
starts slowly , but adrien brody – in the title role – helps make the film's conclusion powerful and satisfying . 
very predictable but still entertaining
nothing short of a masterpiece -- and a challenging one . 
pratfalls aside , barbershop gets its greatest play from the timeless spectacle of people really talking to each other . 
this amiable picture talks tough , but it's all bluster -- in the end it's as sweet as greenfingers . . . 
this is one of mr . chabrol's subtlest works , but also one of his most uncanny . 
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 . 
even though we know the outcome , the seesawing of the general's fate in the arguments of competing lawyers has the stomach-knotting suspense of a legal thriller , while the testimony of witnesses lends the film a resonant undertone of tragedy . 
watching spirited away is like watching an eastern imagination explode . 
as relationships shift , director robert j . siegel allows the characters to inhabit their world without cleaving to a narrative arc . 
twohy knows how to inflate the mundane into the scarifying , and gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record . 
while the story does seem pretty unbelievable at times , it's awfully entertaining to watch . 
a smart and funny , albeit sometimes superficial , cautionary tale of a technology in search of an artist . 
examines its explosive subject matter as nonjudgmentally as wiseman's previous studies of inner-city high schools , hospitals , courts and welfare centers . 
i prefer soderbergh's concentration on his two lovers over tarkovsky's mostly male , mostly patriarchal debating societies . 
'if you are in the mood for an intelligent weepy , it can easily worm its way into your heart . '
in imax in short , it's just as wonderful on the big screen . 
does a good job of establishing a time and place , and of telling a fascinating character's story . 
i'm going to give it a marginal thumbs up . i liked it just enough . 
those of you who don't believe in santa claus probably also think that sequels can never capture the magic of the original . well , this movie proves you wrong on both counts . 
a deliciously nonsensical comedy about a city coming apart at its seams . 
the rare imax movie that you'll wish was longer than an hour . 
my wife's plotting is nothing special ; it's the delivery that matters here . 
i've yet to find an actual vietnam war combat movie actually produced by either the north or south vietnamese , but at least now we've got something pretty damn close . 
a moving and not infrequently breathtaking film . 
it's a sharp movie about otherwise dull subjects . 
[an] absorbing documentary . 
it's like rocky and bullwinkle on speed , but that's neither completely enlightening , nor does it catch the intensity of the movie's strangeness . 
as action-adventure , this space-based homage to robert louis stevenson's treasure island fires on all plasma conduits . 
a melancholy , emotional film . 
while the filmmaking may be a bit disjointed , the subject matter is so fascinating that you won't care . 
intensely romantic , thought-provoking and even an engaging mystery . 
goofy , nutty , consistently funny . and educational ! 
not a schlocky creature feature but something far more stylish and cerebral--and , hence , more chillingly effective . 
another in a long line of ultra-violent war movies , this one is not quite what it could have been as a film , but the story and theme make up for it . 
it leaves little doubt that kidman has become one of our best actors . 
the film boasts dry humor and jarring shocks , plus moments of breathtaking mystery . 
beautifully directed and convincingly acted . 
gambling and throwing a basketball game for money isn't a new plot -- in fact toback himself used it in black and white . but toback's deranged immediacy makes it seem fresh again . 
in the director's cut , the film is not only a love song to the movies but it also is more fully an example of the kind of lush , all-enveloping movie experience it rhapsodizes . 
bring on the sequel . 
graced with the kind of social texture and realism that would be foreign in american teen comedies . 
if we sometimes need comforting fantasies about mental illness , we also need movies like tim mccann's revolution no . 9 . 
the film occasionally tries the viewer's patience with slow pacing and a main character who sometimes defies sympathy , but it ultimately satisfies with its moving story . 
a big-budget/all-star movie as unblinkingly pure as the hours is a distinct rarity , and an event . 
 . . . certainly an entertaining ride , despite many talky , slow scenes . but something seems to be missing . a sense of real magic , perhaps . 
that haynes can both maintain and dismantle the facades that his genre and his character construct is a wonderous accomplishment of veracity and narrative grace . 
the movie worked for me right up to the final scene , and then it caved in . 
 . . . one of the most entertaining monster movies in ages . . . 
plunges you into a reality that is , more often then not , difficult and sad , and then , without sentimentalizing it or denying its brutality , transforms that reality into a lyrical and celebratory vision . 
would you laugh if a tuba-playing dwarf rolled down a hill in a trash can ? do you chuckle at the thought of an ancient librarian whacking a certain part of a man's body ? if you answered yes , by all means enjoy the new guy . 
the film is . . . determined to treat its characters , weak and strong , as fallible human beings , not caricatures , and to carefully delineate the cost of the inevitable conflicts between human urges and an institution concerned with self-preservation . 
missteps take what was otherwise a fascinating , riveting story and send it down the path of the mundane . 
an indispensable peek at the art and the agony of making people laugh . 
steadfastly uncinematic but powerfully dramatic . 
the engagingly primitive animated special effects contribute to a mood that's sustained through the surprisingly somber conclusion . 
made-up lampoons the moviemaking process itself , while shining a not particularly flattering spotlight on america's skin-deep notions of pulchritude . 
evokes the 19th century with a subtlety that is an object lesson in period filmmaking . 
ya-yas everywhere will forgive the flaws and love the film . 
the film's best trick is the way that it treats conspiracy as a kind of political blair witch , a monstrous murk that haunts us precisely because it can never be seen . 
the artwork is spectacular and unlike most animaton from japan , the characters move with grace and panache . 
the picture's fascinating byways are littered with trenchant satirical jabs at the peculiar egocentricities of the acting breed . 
the modern remake of dumas's story is long on narrative and ( too ) short on action . 
fred schepisi's film is paced at a speed that is slow to those of us in middle age and deathly slow to any teen . with a cast of a-list brit actors , it is worth searching out . 
suffers from its timid parsing of the barn-side target of sons trying to breach gaps in their relationships with their fathers . 
nonchalantly freaky and uncommonly pleasurable , warm water may well be the year's best and most unpredictable comedy . 
it's like an old warner bros . costumer jived with sex -- this could be the movie errol flynn always wanted to make , though bette davis , cast as joan , would have killed him . 
it's a great american adventure and a wonderful film to bring to imax . 
satisfyingly scarifying , fresh and old-fashioned at the same time . 
oh , james ! your 20th outing shows off a lot of stamina and vitality , and get this , madonna's cameo doesn't suck ! 
a genuine mind-bender . 
that death is merely a transition is a common tenet in the world's religions . this deeply spiritual film taps into the meaning and consolation in afterlife communications . 
there is something that is so meditative and lyrical about babak payami's boldly quirky iranian drama secret ballot . . . a charming and evoking little ditty that manages to show the gentle and humane side of middle eastern world politics
a huge box-office hit in korea , shiri is a must for genre fans . 
 . . . planos fijos , tomas largas , un ritmo pausado y una sutil observación de sus personajes , sin estridencias ni grandes revelaciones . 
i'm not a fan of the phrase 'life affirming' because it usually means 'schmaltzy , ' but real women have curves truly is life affirming . 
the symbols float like butterflies and the spinning styx sting like bees . i wanted more . 
if it's unnerving suspense you're after -- you'll find it with ring , an indisputably spooky film ; with a screenplay to die for . 
the art direction and costumes are gorgeous and finely detailed , and kurys' direction is clever and insightful . 
red dragon makes one appreciate silence of the lambs . 
proves a servicable world war ii drama that can't totally hide its contrivances , but it at least calls attention to a problem hollywood too long has ignored . 
leigh isn't breaking new ground , but he knows how a daily grind can kill love . 
while broomfield's film doesn't capture the effect of these tragic deaths on hip-hop culture , it succeeds as a powerful look at a failure of our justice system . 
 . . . strips bible stores of the potential for sanctimoniousness , making them meaningful for both kids and church-wary adults . 
laugh-out-loud lines , adorably ditsy but heartfelt performances , and sparkling , bittersweet dialogue that cuts to the chase of the modern girl's dilemma . 
tends to pile too many " serious issues " on its plate at times , yet remains fairly light , always entertaining , and smartly written . 
a solidly entertaining little film . 
it's an entertaining movie , and the effects , boosted to the size of a downtown hotel , will all but take you to outer space . 
sayles has a knack for casting , often resurrecting performers who rarely work in movies now . . . and drawing flavorful performances from bland actors . 
despite an overwrought ending , the film works as well as it does because of the performances . 
a passionately inquisitive film determined to uncover the truth and hopefully inspire action . 
though nijinsky's words grow increasingly disturbed , the film maintains a beguiling serenity and poise that make it accessible for a non-narrative feature . 
a muddle splashed with bloody beauty as vivid as any scorsese has ever given us . 
from both a great and a terrible story , mr . nelson has made a film that is an undeniably worthy and devastating experience . 
spider-man is about growing strange hairs , getting a more mature body , and finding it necessary to hide new secretions from the parental units . 
the first shocking thing about sorority boys is that it's actually watchable . even more baffling is that it's funny . 
highlighted by a gritty style and an excellent cast , it's better than one might expect when you look at the list of movies starring ice-t in a major role . 
neither quite a comedy nor a romance , more of an impish divertissement of themes that interest attal and gainsbourg -- they live together -- the film has a lot of charm . 
first and foremost . . . the reason to go see " blue crush " is the phenomenal , water-born cinematography by david hennings . 
a visionary marvel , but it's lacking a depth in storytelling usually found in anime like this . 
the problems and characters it reveals are universal and involving , and the film itself -- as well its delightful cast -- is so breezy , pretty and gifted , it really won my heart . 
in his latest effort , storytelling , solondz has finally made a movie that isn't just offensive -- it also happens to be good . 
how i killed my father would be a rarity in hollywood . it's an actor's showcase that accomplishes its primary goal without the use of special effects , but rather by emphasizing the characters -- including the supporting ones . 
i just saw this movie . . . well , it's probably not accurate to call it a movie . 
what's most memorable about circuit is that it's shot on digital video , whose tiny camera enables shafer to navigate spaces both large . . . and small . . . with considerable aplomb . 
scherfig , the writer-director , has made a film so unabashedly hopeful that it actually makes the heart soar . yes , soar . 
a delicious and delicately funny look at the residents of a copenhagen neighborhood coping with the befuddling complications life tosses at them . 
 " what really happened ? " is a question for philosophers , not filmmakers ; all the filmmakers need to do is engage an audience . 
soderbergh , like kubrick before him , may not touch the planet's skin , but understands the workings of its spirit . 
much credit must be given to the water-camera operating team of don king , sonny miller , and michael stewart . their work is fantastic . 
crush is so warm and fuzzy you might be able to forgive its mean-spirited second half . 
franco is an excellent choice for the walled-off but combustible hustler , but he does not give the transcendent performance sonny needs to overcome gaps in character development and story logic . 
tsai ming-liang's witty , wistful new film , what time is it there ? , is a temporal inquiry that shoulders its philosophical burden lightly . 
the pianist lacks the quick emotional connections of steven spielberg's schindler's list . but mr . polanski creates images even more haunting than those in mr . spielberg's 1993 classic . 
steers , in his feature film debut , has created a brilliant motion picture . 
a brilliant , absurd collection of vignettes that , in their own idiosyncratic way , sum up the strange horror of life in the new millennium . 
as warm as it is wise , deftly setting off uproarious humor with an underlying seriousness that sneaks up on the viewer , providing an experience that is richer than anticipated . 
the film may not hit as hard as some of the better drug-related pictures , but it still manages to get a few punches in . 
old-fashioned but thoroughly satisfying entertainment . 
an energizing , intoxicating documentary charting the rise of hip-hop culture in general and the art of scratching ( or turntablism ) in particular . 
a fun family movie that's suitable for all ages -- a movie that will make you laugh , cry and realize , 'it's never too late to believe in your dreams . '
if you open yourself up to mr . reggio's theory of this imagery as the movie's set . . . it can impart an almost visceral sense of dislocation and change . 
i had a dream that a smart comedy would come along to rescue me from a summer of teen-driven , toilet-humor codswallop , and its name was earnest . 
even though the film doesn't manage to hit all of its marks , it's still entertaining to watch the target practice . 
where this was lazy but enjoyable , a formula comedy redeemed by its stars , that is even lazier and far less enjoyable . 
the 3-d vistas from orbit , with the space station suspended like a huge set of wind chimes over the great blue globe , are stanzas of breathtaking , awe-inspiring visual poetry . 
the attraction between these two marginal characters is complex from the start -- and , refreshingly , stays that way . 
fans of the modern day hong kong action film finally have the worthy successor to a better tomorrow and the killer which they have been patiently waiting for . 
even when he's not at his most critically insightful , godard can still be smarter than any 50 other filmmakers still at work . 
what sets this romantic comedy apart from most hollywood romantic comedies is its low-key way of tackling what seems like done-to-death material . 
has enough wit , energy and geniality to please not only the fanatical adherents on either side , but also people who know nothing about the subject and think they're not interested . 
this seductive tease of a thriller gets the job done . it's a scorcher . 
bittersweet comedy/drama full of life , hand gestures , and some really adorable italian guys . 
works as pretty contagious fun . 
the best didacticism is one carried by a strong sense of humanism , and bertrand tavernier's oft-brilliant safe conduct ( " laissez-passer " ) wears its heart on its sleeve . 
a realistically terrifying movie that puts another notch in the belt of the long list of renegade-cop tales . 
a charming , banter-filled comedy . . . one of those airy cinematic bon bons whose aims -- and by extension , accomplishments -- seem deceptively slight on the surface . 
a film with almost as many delights for adults as there are for children and dog lovers . 
serious movie-goers embarking upon this journey will find that the road to perdition leads to a satisfying destination . 
heartwarming and gently comic even as the film breaks your heart . 
caruso sometimes descends into sub-tarantino cuteness . . . but for the most part he makes sure the salton sea works the way a good noir should , keeping it tight and nasty . 
a " black austin powers ? " i prefer to think of it as " pootie tang with a budget . " sa da tay ! 
oddly , the film isn't nearly as downbeat as it sounds , but strikes a tone that's alternately melancholic , hopeful and strangely funny . 
i would be shocked if there was actually one correct interpretation , but that shouldn't make the movie or the discussion any less enjoyable . 
chouraqui brings documentary-like credibility to the horrors of the killing field and the barbarism of 'ethnic cleansing . '
the best thing i can say about this film is that i can't wait to see what the director does next . 
smarter than its commercials make it seem . 
great character interaction . 
one of the funnier movies in town . 
campanella's competent direction and his excellent cast overcome the obstacles of a predictable outcome and a screenplay that glosses over rafael's evolution . 
by turns very dark and very funny . 
steven soderbergh doesn't remake andrei tarkovsky's solaris so much as distill it . 
for more than two decades mr . nachtwey has traveled to places in the world devastated by war , famine and poverty and documented the cruelty and suffering he has found with an devastating , eloquent clarity . 
simultaneously heartbreakingly beautiful and exquisitely sad . 
though overall an overwhelmingly positive portrayal , the film doesn't ignore the more problematic aspects of brown's life . 
the philosophical musings of the dialogue jar against the tawdry soap opera antics of the film's action in a way that is surprisingly enjoyable . 
not too fancy , not too filling , not too fluffy , but definitely tasty and sweet . 
quando tiros em columbine acerta o alvo ( com o perdão do trocadilho ) , não há como negar o brilhantismo da argumentação de seu diretor . 
director lee has a true cinematic knack , but it's also nice to see a movie with its heart so thoroughly , unabashedly on its sleeve . 
as allen's execution date closes in , the documentary gives an especially poignant portrait of her friendship with the never flagging legal investigator david presson . 
jones has tackled a meaty subject and drawn engaging characters while peppering the pages with memorable zingers . 
a vivid , spicy footnote to history , and a movie that grips and holds you in rapt attention from start to finish . 
if s&m seems like a strange route to true love , maybe it is , but it's to this film's ( and its makers' ) credit that we believe that that's exactly what these two people need to find each other -- and themselves . 
if the film's vision of sport as a secular religion is a bit cloying , its through-line of family and community is heartening in the same way that each season marks a new start . 
one of the best of a growing strain of daring films . . . that argue that any sexual relationship that doesn't hurt anyone and works for its participants is a relationship that is worthy of our respect . 
…an adorably whimsical comedy that deserves more than a passing twinkle . 
an engrossing story that combines psychological drama , sociological reflection , and high-octane thriller . 
it's easy to be cynical about documentaries in which underdogs beat the odds and the human spirit triumphs , but westbrook's foundation and dalrymple's film earn their uplift . 
mel gibson fights the good fight in vietnam in director randall wallace's flag-waving war flick with a core of decency . 
there's real visual charge to the filmmaking , and a strong erotic spark to the most crucial lip-reading sequence . 
a brutal and funny work . nicole holofcenter , the insightful writer/director responsible for this illuminating comedy doesn't wrap the proceedings up neatly but the ideas tie together beautifully . 
the film is a blunt indictment , part of a perhaps surreal campaign to bring kissinger to trial for crimes against humanity . 
one of the most important and exhilarating forms of animated filmmaking since old walt doodled steamboat willie . 
move over bond ; this girl deserves a sequel . 
the kind of trifle that date nights were invented for . 
 . it's a testament to the film's considerable charm that it succeeds in entertaining , despite playing out like a feature-length sitcom replete with stereotypical familial quandaries . there's a sheer unbridled delight in the way the story unfurls . . . 
tells ( the story ) with such atmospheric ballast that shrugging off the plot's persnickety problems is simply a matter of ( being ) in a shrugging mood . 
the film is hard to dismiss -- moody , thoughtful , and lit by flashes of mordant humor . 
if the man from elysian fields is doomed by its smallness , it is also elevated by it--the kind of movie that you enjoy more because you're one of the lucky few who sought it out . 
what emerges is an unsettling picture of childhood innocence combined with indoctrinated prejudice . promises is a compelling piece that demonstrates just how well children can be trained to live out and carry on their parents' anguish . 
meticulously uncovers a trail of outrageous force and craven concealment . 
hey , happy ! is many things -- stoner midnight flick , sci-fi deconstruction , gay fantasia -- but above all it's a love story as sanguine as its title . 
you won't look at religious fanatics -- or backyard sheds -- the same way again . 
at its best . . . festival in cannes bubbles with the excitement of the festival in cannes . 
there is a general air of exuberance in all about the benjamins that's hard to resist . 
a lovably old-school hollywood confection . 
i'm happy to have seen it -- not as an alternate version , but as the ultimate exercise in viewing deleted scenes . 
by turns gripping , amusing , tender and heart-wrenching , laissez-passer has all the earmarks of french cinema at its best . 
the warnings to resist temptation in this film . . . are blunt and challenging and offer no easy rewards for staying clean . 
wonder of wonders -- a teen movie with a humanistic message . 
a quirky comedy set in newfoundland that cleverly captures the dry wit that's so prevalent on the rock . 
peppered with witty dialogue and inventive moments . 
i'd rather watch a rerun of the powerpuff girls
with the prospect of films like kangaroo jack about to burst across america's winter movie screens it's a pleasure to have a film like the hours as an alternative . 
the wonderful combination of the sweetness and the extraordinary technical accomplishments of the first film are maintained , but its overall impact falls a little flat with a storyline that never quite delivers the original magic . 
like its title character , this nicholas nickleby finds itself in reduced circumstances -- and , also like its hero , it remains brightly optimistic , coming through in the end . 
as a thoughtful and unflinching examination of an alternative lifestyle , sex with strangers is a success . 
unpretentious , charming , quirky , original
spinning a web of dazzling entertainment may be overstating it , but " spider-man " certainly delivers the goods . 
other than the slightly flawed ( and fairly unbelievable ) finale , everything else is top shelf . 
this fascinating look at israel in ferment feels as immediate as the latest news footage from gaza and , because of its heightened , well-shaped dramas , twice as powerful . 
manages to delight without much of a story . 
there's no denying that burns is a filmmaker with a bright future ahead of him . 
i have a confession to make : i didn't particularly like e . t . the first time i saw it as a young boy . that is because - damn it ! - i also wanted a little alien as a friend ! 
fairy-tale formula , serves as a paper skeleton for some very good acting , dialogue , comedy , direction and especially charm . 
a genuinely funny ensemble comedy that also asks its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives . 
though the aboriginal aspect lends the ending an extraordinary poignancy , and the story itself could be played out in any working class community in the nation . 
an energetic and engaging film that never pretends to be something it isn't . 
a violent initiation rite for the audience , as much as it is for angelique , the [opening] dance guarantees karmen's enthronement among the cinema's memorable women . 
an animation landmark as monumental as disney's 1937 breakthrough snow white and the seven dwarfs . 
an entertaining , if ultimately minor , thriller . 
sex with strangers is fascinating . . . 
a subtle , poignant picture of goodness that is flawed , compromised and sad . 
a wry , affectionate delight . 
the acting in pauline and paulette is good all round , but what really sets the film apart is debrauwer's refusal to push the easy emotional buttons . 
one of those joyous films that leaps over national boundaries and celebrates universal human nature . 
a penetrating glimpse into the tissue-thin ego of the stand-up comic . 
kids should have a stirring time at this beautifully drawn movie . and adults will at least have a dream image of the west to savor whenever the film's lamer instincts are in the saddle . 
paid in full is remarkably engaging despite being noticeably derivative of goodfellas and at least a half dozen other trouble-in-the-ghetto flicks . 
less cinematically powerful than quietly and deeply moving , which is powerful in itself . 
waydowntown manages to nail the spirit-crushing ennui of denuded urban living without giving in to it . 
each of these stories has the potential for touched by an angel simplicity and sappiness , but thirteen conversations about one thing , for all its generosity and optimism , never resorts to easy feel-good sentiments . 
if borstal boy isn't especially realistic , it is an engaging nostalgia piece . 
often demented in a good way , but it is an uneven film for the most part . 
the script's snazzy dialogue establishes a realistic atmosphere that involves us in the unfolding crisis , but the lazy plotting ensures that little of our emotional investment pays off . 
maggie smith as the ya-ya member with the o2-tank will absolutely crack you up with her crass , then gasp for gas , verbal deportment . 
this is a movie that refreshes the mind and spirit along with the body , so original is its content , look , and style . 
although i didn't hate this one , it's not very good either . it can be safely recommended as a video/dvd babysitter . 
another best of the year selection . 
the film has the high-buffed gloss and high-octane jolts you expect of de palma , but what makes it transporting is that it's also one of the smartest , most pleasurable expressions of pure movie love to come from an american director in years . 
it's a very valuable film . . . 
max pokes , provokes , takes expressionistic license and hits a nerve . . . as far as art is concerned , it's mission accomplished . 
literary purists may not be pleased , but as far as mainstream matinee-style entertainment goes , it does a bang-up job of pleasing the crowds . 
here polanski looks back on those places he saw at childhood , and captures them by freeing them from artefact , and by showing them heartbreakingly drably . 
intriguing and stylish . 
the story itself it mostly told through on-camera interviews with several survivors , whose riveting memories are rendered with such clarity that it's as if it all happened only yesterday . 
a compelling story of musical passion against governmental odds . 
with " ichi the killer " , takashi miike , japan's wildest filmmaker gives us a crime fighter carrying more emotional baggage than batman . . . 
you never know where changing lanes is going to take you but it's a heck of a ride . samuel l . jackson is one of the best actors there is . 
[breheny's] lensing of the new zealand and cook island locations captures both the beauty of the land and the people . 
an almost unbearably morbid love story . 
the wild thornberrys movie has all the sibling rivalry and general family chaos to which anyone can relate . 
a forceful drama of an alienated executive who re-invents himself . 
spielberg's realization of a near-future america is masterful . this makes minority report necessary viewing for sci-fi fans , as the film has some of the best special effects ever . 
the gags that fly at such a furiously funny pace that the only rip off that we were aware of was the one we felt when the movie ended so damned soon . 
the best film of the year 2002 . 
an enthralling , entertaining feature . 
stripped almost entirely of such tools as nudity , profanity and violence , labute does manage to make a few points about modern man and his problematic quest for human connection . 
a remarkable movie with an unsatisfying ending , which is just the point . 
all in all , brown sugar is a satisfying well-made romantic comedy that's both charming and well acted . it will guarantee to have you leaving the theater with a smile on your face . 
smith finds amusing juxtapositions that justify his exercise . 
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 . 
an older cad instructs a younger lad in zen and the art of getting laid in this prickly indie comedy of manners and misanthropy . 
 " austin powers in goldmember " has the right stuff for silly summer entertainment and has enough laughs to sustain interest to the end . 
one of [jaglom's] better efforts -- a wry and sometime bitter movie about love . 
schaeffer isn't in this film , which may be why it works as well as it does . 
a fresh , entertaining comedy that looks at relationships minus traditional gender roles . 
although estela bravo's documentary is cloyingly hagiographic in its portrait of cuban leader fidel castro , it's still a guilty pleasure to watch . 
surprisingly , the film is a hilarious adventure and i shamelessly enjoyed it . 
the way home is an ode to unconditional love and compassion garnered from years of seeing it all , a condition only the old are privy to , and . . . often misconstrued as weakness . 
brutally honest and told with humor and poignancy , which makes its message resonate . 
if you can read the subtitles ( the opera is sung in italian ) and you like 'masterpiece theatre' type costumes , you'll enjoy this movie . 
a pretty funny movie , with most of the humor coming , as before , from the incongruous but chemically perfect teaming of crystal and de niro . 
gangster no . 1 is solid , satisfying fare for adults . 
this chicago has hugely imaginative and successful casting to its great credit , as well as one terrific score and attitude to spare . 
has enough gun battles and throwaway humor to cover up the yawning chasm where the plot should be . 
with its jerky hand-held camera and documentary feel , bloody sunday is a sobering recount of a very bleak day in derry . 
you will likely prefer to keep on watching . 
insomnia loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion . but the performances of pacino , williams , and swank keep the viewer wide-awake all the way through . 
what might have been readily dismissed as the tiresome rant of an aging filmmaker still thumbing his nose at convention takes a surprising , subtle turn at the midway point . 
at a time when commercialism has squeezed the life out of whatever idealism american moviemaking ever had , godfrey reggio's career shines like a lonely beacon . 
an inuit masterpiece that will give you goosebumps as its uncanny tale of love , communal discord , and justice unfolds . 
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
it's a testament to de niro and director michael caton-jones that by movie's end , we accept the characters and the film , flaws and all . 
performances are potent , and the women's stories are ably intercut and involving . 
an enormously entertaining movie , like nothing we've ever seen before , and yet completely familiar . 
lan yu is a genuine love story , full of traditional layers of awakening and ripening and separation and recovery . 
your children will be occupied for 72 minutes . 
pull[s] off the rare trick of recreating not only the look of a certain era , but also the feel . 
twohy's a good yarn-spinner , and ultimately the story compels . 
'tobey maguire is a poster boy for the geek generation . '
 . . . a sweetly affecting story about four sisters who are coping , in one way or another , with life's endgame . 
passion , melodrama , sorrow , laugther , and tears cascade over the screen effortlessly . . . 
road to perdition does display greatness , and it's worth seeing . but it also comes with the laziness and arrogance of a thing that already knows it's won . 
a marvelous performance by allison lohman as an identity-seeking foster child . 
arliss howard's ambitious , moving , and adventurous directorial debut , big bad love , meets so many of the challenges it poses for itself that one can forgive the film its flaws . 
critics need a good laugh , too , and this too-extreme-for-tv rendition of the notorious mtv show delivers the outrageous , sickening , sidesplitting goods in steaming , visceral heaps . 
what a dumb , fun , curiously adolescent movie this is . 
many insightful moments . 
the charms of the lead performances allow us to forget most of the film's problems . 
a vivid , sometimes surreal , glimpse into the mysteries of human behavior . 
a tour de force of modern cinema . 
peralta captures , in luminous interviews and amazingly evocative film from three decades ago , the essence of the dogtown experience . 
the lively appeal of the last kiss lies in the ease with which it integrates thoughtfulness and pasta-fagioli comedy . 
without resorting to camp or parody , haynes ( like sirk , but differently ) has transformed the rhetoric of hollywood melodrama into something provocative , rich , and strange . 
the performances are an absolute joy . 
a quasi-documentary by french filmmaker karim dridi that celebrates the hardy spirit of cuban music . 
grant carries the day with impeccable comic timing , raffish charm and piercing intellect . 
a sensitive and astute first feature by anne-sophie birot . 
both exuberantly romantic and serenely melancholy , what time is it there ? may prove to be [tsai's] masterpiece . 
mazel tov to a film about a family's joyous life acting on the yiddish stage . 
standing in the shadows of motown is the best kind of documentary , one that makes a depleted yesterday feel very much like a brand-new tomorrow . 
it's nice to see piscopo again after all these years , and chaykin and headly are priceless . 
provides a porthole into that noble , trembling incoherence that defines us all .