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It's the funniest American comedy since Graffiti Bridge.
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After an uncertain start, Murder hits and generally sustains a higher plateau with Bullock's memorable first interrogation of Gosling.
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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.
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...a delicious crime drama on par with the slickest of Mamet.
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On top of a foundering performance, (Madonna's) denied her own athleticism by lighting that emphasizes every line and sag.
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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.
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Mostly works because of the universal themes, earnest performances ... and excellent use of music by India's popular Gulzar and Jagjit Singh.
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About the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience's meat grinder one more time.
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But the performances of Pacino, Williams, and Swank keep the viewer wide-awake all the way through.
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A boring, pretentious muddle that uses a sensational, real-life 19th-Century crime as a metaphor for -- well, I'm not exactly sure what -- and has all the dramatic weight of a raindrop.
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Far From Heaven is a dazzling conceptual feat, but more than that, it's a work of enthralling drama.
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Blessed with a searing lead performance by Ryan Gosling (Murder by Numbers), the movie is powerful and provocative.
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The film desperately sinks further and further into comedy futility.
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It almost feels as if the movie is more interested in entertaining itself than in amusing us.
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A low-rent retread of the Alien pictures.
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It merely indulges in the worst elements of all of them.
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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.
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The entire film is one big excuse to play one lewd scene after another.
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A fascinating examination of the joyous, turbulent self-discovery made by a proper, middle-aged woman.
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Has an unmistakable, easy joie de vivre.
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It's a rare window on an artistic collaboration.
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Report card: Doesn't live up to the exalted tagline - there's definite room for improvement.
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Too intensely focused on the travails of being Hal Hartley to function as pastiche, No Such Thing is Hartley's least accessible screed yet.
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A backstage must-see for true fans of comedy.
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It's got the brawn, but not the brains.
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Lacks dramatic punch and depth.
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It may be a no-brainer, but at least it's a funny no-brainer.
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Like the excruciating End of Days, Collateral Damage presents Schwarzenegger as a tragic figure, but sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions.
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A great cast and a wonderful but sometimes confusing flashback movie about growing up in a dysfunctional family.
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Ozpetek offers an AIDS subtext, skims over the realities of gay sex, and presents yet another tired old vision of the gay community as an all-inclusive world where uptight, middle class bores like Antonia can feel good about themselves.
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The leads are so unmemorable, despite several attempts at lengthy dialogue scenes, that one eventually resents having to inhale this gutter romancer's secondhand material.
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A relative letdown.
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From its nauseating spinning credits sequence to a very talented but underutilized supporting cast, Bartleby squanders as much as it gives out.
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A realistically terrifying movie that puts another notch in the belt of the long list of renegade-cop tales.
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Brings an irresistible blend of warmth and humor and a consistent embracing humanity in the face of life's harshness.
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Inconsequential road-and-buddy pic.
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It's been 13 months and 295 preview screenings since I last walked out on a movie, but Resident Evil really earned my indignant, preemptive departure.
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The leanest and meanest of Solondz's misanthropic comedies.
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About Schmidt belongs to Nicholson.
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Its metaphors are opaque enough to avoid didacticism, and the film succeeds as an emotionally accessible, almost mystical work.
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Starts as an intense political and psychological thriller but is sabotaged by ticking time bombs and other Hollywood-action cliches.
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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.
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The film is grossly contradictory in conveying its social message, if indeed there is one.
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Daringly perceptive, taut, piercing and feisty, Biggie and Tupac is undeniably subversive and involving in its bold presentation.
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Boyd's screenplay (co-written with Guardian hack Nick Davies) has a florid turn of phrase that owes more to Guy Ritchie than the Bard of Avon.
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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.
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This deeply spiritual film taps into the meaning and consolation in afterlife communications.
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I know that I'll never listen to Marvin Gaye or the Supremes the same way again
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A big, loud, bang-the-drum bore.
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Horrendously amateurish filmmaking that is plainly dull and visually ugly when it isn't incomprehensible.
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After Collateral Damage, you might imagine that most every aggrieved father cliché has been unturned.
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Predictable storyline and by-the-book scripting is all but washed away by sumptuous ocean visuals and the cinematic stylings of director John Stockwell.
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Laugh-out-loud lines, adorably ditsy but heartfelt performances, and sparkling, bittersweet dialogue that cuts to the chase of the modern girl's dilemma.
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Essentially a collection of bits -- and they're all naughty.
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You get the impression that writer and director Burr Steers knows the territory ... but his sense of humor has yet to lose the smug self-satisfaction usually associated with the better private schools.
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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.'
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Happily, some things are immune to the folly of changing taste and attitude.
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Viewers will need all the luck they can muster just figuring out who's who in this pretentious mess.
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The viewer takes great pleasure in watching the resourceful Molly stay a step ahead of her pursuers.
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With We Were Soldiers, Hollywood makes a valiant attempt to tell a story about the Vietnam War before the pathology set in.
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I just saw this movie... well, it's probably not accurate to call it a movie.
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One of the smarter offerings the horror genre has produced in recent memory, even if it's far tamer than advertised.
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A well-done film of a self-reflexive, philosophical nature.
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Still, it just sits there like a side dish no one ordered.
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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
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Who, exactly, is fighting whom here?
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can be as tiresome as 9 seconds of Jesse Helms' anti- Castro rhetoric, which are included
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It's a lot to ask people to sit still for two hours and change watching such a character, especially when rendered in as flat and impassive a manner as Phoenix's.
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In truth, it has all the heart of a porno flick (but none of the sheer lust).
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Cherish would've worked a lot better had it been a short film.
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If you're looking for an intelligent movie in which you can release your pent up anger, ENOUGH is just the ticket you need.
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Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
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A zippy 96 minutes of mediocre special effects, hoary dialogue, fluxing accents, and -- worst of all -- silly-looking Morlocks.
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Every so often a film comes along that is so insanely stupid, so awful in so many ways that watching it leaves you giddy.
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But it is entertaining on an inferior level.
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Plummer steals the show without resorting to camp as Nicholas' wounded and wounding Uncle Ralph.
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Evokes the frustration, the awkwardness and the euphoria of growing up, without relying on the usual tropes.
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It's a head-turner -- thoughtfully written, beautifully read and, finally, deeply humanizing.
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As it is, it's too long and unfocused.
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This is not a classical dramatic animated feature, nor a hip, contemporary, in-jokey one.
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I'm not a fan of the phrase 'life affirming' because it usually means 'schmaltzy,' but Real Women Have Curves truly is life affirming.
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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.
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Charlotte Sometimes is a gem.
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Australia: Land Beyond Time is an enjoyable Big Movie primarily because Australia is a weirdly beautiful place.
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As immaculate as Stuart Little 2 is, it could be a lot better if it were, well, more adventurous.
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Further sad evidence that Tom Tykwer, director of the resonant and sense-spinning Run Lola Run, has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap.
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(A) satisfying niblet.
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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.
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Coupling disgracefully written dialogue with flailing bodily movements that substitute for acting, Circuit is the awkwardly paced soap opera-ish story.
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It rapidly develops into a gut-wrenching examination of the way cultural differences and emotional expectations collide.
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You try to guess the order in which the kids in the house will be gored.
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Payne has created a beautiful canvas, and Nicholson proves once again that he's the best brush in the business.
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(Siegel) and co-writers Lisa Bazadona and Grace Woodard have relied too much on convention in creating the characters who surround Frankie.
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While the material is slight, the movie is better than you might think.
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Unambitious writing emerges in the movie, using a plot that could have come from an animated-movie screenwriting textbook.
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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.
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I don't think most of the people who loved the 1989 Paradiso will prefer this new version.
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A sluggish pace and lack of genuine narrative hem the movie in every bit as much as life hems in the spirits of these young women.
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Broomfield's style of journalism is hardly journalism at all, and even those with an avid interest in the subject will grow impatient.
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Mostly, (Goldbacher) just lets her complicated characters be unruly, confusing and, through it all, human.
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