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partway through watching this saccharine , easter-egg-colored concoction , you realize that it is made up of three episodes of a rejected tv show .

frankly , it 's kind of insulting , both to men and women . and it 's not that funny -- which is just generally insulting .

here , common sense flies out the window , along with the hail of bullets , none of which ever seem to hit sascha .

plodding , peevish and gimmicky .

chris columbus ' sequel is faster , livelier and a good deal funnier than his original .

though catch me if you can is n't badly made , the fun slowly leaks out of the movie .

the movie does n't add anything fresh to the myth .

j . lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she 's a pretty woman , but she 's no working girl .

a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .

a sexy , surprising romance . . . idemoto and kim make a gorgeous pair . . . their scenes brim with sexual possibility and emotional danger .

the film provides some great insight into the neurotic mindset of all comics -- even those who have reached the absolute top of the game .

the movie is well done , but slow .

say this for the soundtrack , it drowns out the lousy dialogue .

a trite psychological thriller designed to keep the audience guessing and guessing -- which is not to be confused with suspecting -- until it comes time to wrap things up and send the viewers home .

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 .

this is not an easy film . but it could be , by its art and heart , a necessary one .

borrows from other movies like it in the most ordinary and obvious fashion .

the events of the film are just so weird that i honestly never knew what the hell was coming next .

is this love or is it masochism ? binoche makes it interesting trying to find out .

this film , starring anthony hopkins and chris rock , is your typical 'fish out of water ' story . you 've seen them a million times . just one problem : fish out of water usually die . this one does .

with we were soldiers , hollywood makes a valiant attempt to tell a story about the vietnam war before the pathology set in .

this is n't a narrative film -- i do n'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 .

exactly what it claims to be -- a simple diversion for the kids .

the casting of von sydow . . . is itself intacto 's luckiest stroke .

never inspires more than an interested detachment .

a sincere but dramatically conflicted gay coming-of-age tale .

bright seems alternately amused and disgusted with this material , and he ca n't help throwing in a few of his own touches .

the obligatory break-ups and hook-ups do n't seem to have much emotional impact on the characters .

a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .

this may be the first cartoon ever to look as if it were being shown on the projection television screen of a sports bar .

an afterschool special without the courage of its convictions .

after all the big build-up , the payoff for the audience , as well as the characters , is messy , murky , unsatisfying .

the film 's sense of imagery gives it a terrible strength , but it 's propelled by the acting .

they 're going through the motions , but the zip is gone .

while howard 's appreciation of brown and his writing is clearly well-meaning and sincere , the movie would be impossible to sit through were it not for the supporting cast .

. . . too dull to enjoy .

sadly , though many of the actors throw off a spark or two when they first appear , they ca n't generate enough heat in this cold vacuum of a comedy to start a reaction .

if you ignore the cliches and concentrate on city by the sea 's interpersonal drama , it ai n't half-bad .

pretty much sucks , but has a funny moment or two .

the film fits into a genre that has been overexposed , redolent of a thousand cliches , and yet remains uniquely itself , vibrant with originality .

a small movie with a big heart .

the premise is in extremely bad taste , and the film 's supposed insights are so poorly thought-out and substance-free that even a high school senior taking his or her first psychology class could dismiss them .

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 .

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 .

a fascinating glimpse into an insular world that gives the lie to many clichM-is and showcases a group of dedicated artists .

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 .

that storytelling has value can not be denied . not even solondz 's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it .

take any 12-year-old boy to see this picture , and he 'll be your slave for a year .

melanie eventually slugs the yankee . too bad the former murphy brown does n't pop reese back .

a gem of a romantic crime comedy that turns out to be clever , amusing and unpredictable .

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 .

scores a few points for doing what it does with a dedicated and good-hearted professionalism .

it 's slow -- very , very slow . it 's not the ultimate depression-era gangster movie . that 's pure pr hype .

[ d ] oes n'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 .

boll uses a lot of quick cutting and blurry step-printing to goose things up , but dopey dialogue and sometimes inadequate performances kill the effect .

so boring that even its target audience talked all the way through it .

meyjes . . . has done his homework and soaked up some jazzy new revisionist theories about the origins of nazi politics and aesthetics .

her fans walked out muttering words like `` horrible `` and `` terrible , `` but had so much fun dissing the film that they did n't mind the ticket cost . in this case zero .

the film is impressive for the sights and sounds of the wondrous beats the world has to offer .

could the country bears really be as bad as its trailers ? in a word -- yes .

it 's a pleasure to see seinfeld griping about the biz with buddies chris rock , garry shandling and colin quinn .

a much better documentary -- more revealing , more emotional and more surprising -- than its pedestrian english title would have you believe .

the first fatal attraction was vile enough . do we really need the tiger beat version ?

an operatic , sprawling picture that 's entertainingly acted , magnificently shot and gripping enough to sustain most of its 170-minute length .

. . . a guiltless film for nice evening out .

it 's the kind of movie that , aside from robert altman , spike lee , the coen brothers and a few others , our moviemakers do n't make often enough .

a coming-of-age movie that hollywood would n't have the guts to make .

it 's super- violent , super-serious and super-stupid .

a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome . in the wrong hands , i . e . peploe 's , it 's simply unbearable

a punch line without a premise , a joke built entirely from musty memories of half-dimensional characters .

the script is n't very good ; not even someone as gifted as hoffman ( the actor ) can make it work .

as elegantly crafted as it often is , anderson 's movie is essentially a one-trick pony that , hampered by an undeveloped script , ultimately pulls up lame .

just because it really happened to you , honey , does n't mean that it 's interesting to anyone else .

historical dramas fused with love triangle is a well worn conceit . but this films lacks the passion required to sell the material .

a farce of a parody of a comedy of a premise , it is n't a comparison to reality so much as it is a commentary about our knowledge of films .

this movie is so bad , that it 's almost worth seeing because it 's so bad .

less the sensational true-crime hell-jaunt purists might like and more experimental in its storytelling ( though no less horrifying for it ) .

[ 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 .

a solid cast , assured direction and complete lack of modern day irony .

. . . ice age treads predictably along familiar territory , making it a passable family film that wo n't win many fans over the age of 12 .

the transporter bombards the viewer with so many explosions and side snap kicks that it ends up being surprisingly dull .

although huppert 's intensity and focus has a raw exhilaration about it , the piano teacher is anything but fun .

you can thank me for this . i saw juwanna mann so you do n't have to .

even as lame horror flicks go , this is lame .

ritchie 's treatment of the class reversal is majorly ham-fisted , from the repetitive manifestos that keep getting thrown in people 's faces to the fact amber is such a joke .

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 .

if sinise 's character had a brain his ordeal would be over in five minutes but instead the plot goes out of its way to introduce obstacles for him to stumble over .

( a ) hollywood sheen bedevils the film from the very beginning . . . ( but ) lohman 's moist , deeply emotional eyes shine through this bogus veneer . . .