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Sometimes charming, sometimes infuriating, this Argentinean 'dramedy' succeeds mainly on the shoulders of its actors.
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"13 Conversations About One Thing" is an intelligent flick that examines many different ideas from happiness to guilt in an intriguing bit of storytelling.
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A no-holds-barred cinematic treat.
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Plotless collection of moronic stunts is by far the worst movie of the year.
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All in all, Road to Perdition is more in love with strangeness than excellence.
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With all the sympathy, empathy and pity fogging up the screen...His Secret Life enters the land of unintentional melodrama and tiresome love triangles.
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Like a fish that's lived too long, Austin Powers in Goldmember has some unnecessary parts and is kinda wrong in places.
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Adaptation's success in engaging the audience in the travails of creating a screenplay is extraordinary.
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Canadian filmmaker Gary Burns' inventive and mordantly humorous take on the soullessness of work in the city.
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Ultimately, "MIB II" succeeds due to its rapid-fire delivery and enough inspired levity that it can't be dismissed as mindless.
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Like the original, this version is raised a few notches above kiddie fantasy pablum by Allen's astringent wit.
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Tries so hard to be quirky and funny that the strain is all too evident.
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The self-serious Equilibrium makes its point too well; a movie, like life, isn't much fun without the highs and lows.
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A family film that contains some hefty thematic material on time, death, eternity, and what is needed to live a rich and full life.
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A riveting profile of law enforcement, and a visceral, nasty journey into an urban Hades.
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By no means a great movie, but it is a refreshingly forthright one.
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Rewarding.
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Often hilarious.
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Shot largely in small rooms, the film has a gentle, unforced intimacy that never becomes claustrophobic.
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I like all four of the lead actors a lot and they manage to squeeze a few laughs out of the material, but they're treading water at best in this forgettable effort.
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The adventure doesn't contain half the excitement of Balto, or quarter the fun of Toy Story 2.
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A very charming and funny movie.
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Nair's attention to detail creates an impeccable sense of place, while Thurman and Lewis give what can easily be considered career-best performances.
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...the maudlin way its story unfolds suggests a director fighting against the urge to sensationalize his material.
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Beware the quirky Brit-com.
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A sense of real magic, perhaps.
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In theory, a middle-aged romance pairing Clayburgh and Tambor sounds promising, but in practice it's something else altogether -- clownish and offensive and nothing at all like real life.
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A tour de force of modern cinema.
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Able to provide insight into a fascinating part of theater history.
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It still feels like a prison stretch.
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Adams, with four scriptwriters, takes care with the characters, who are so believable that you feel what they feel.
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He makes you realize that deep inside righteousness can be found a tough beauty.
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This is historical filmmaking without the balm of right-thinking ideology, either liberal or conservative.
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The direction, by George Hickenlooper, has no snap to it, no wiseacre crackle or hard-bitten cynicism.
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(A) smarter and much funnier version of the old Police Academy flicks.
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Her fans walked out muttering words like "horrible" and "terrible," but had so much fun dissing the film that they didn't mind the ticket cost.
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A supernatural mystery that doesn't know whether it wants to be a suspenseful horror movie or a weepy melodrama.
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An impeccable study in perversity.
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What sets it apart is the vision that Taymor, the avant garde director of Broadway's The Lion King and the film Titus, brings.
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Offers the flash of rock videos fused with solid performances and eerie atmosphere.
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But the film itself is ultimately quite unengaging.
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A sleep-inducingly slow-paced crime drama with clumsy dialogue, heavy-handed phoney-feeling sentiment, and an overly-familiar set of plot devices.
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An awful movie that will only satisfy the most emotionally malleable of filmgoers.
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I guess it just goes to show that if you give a filmmaker an unlimited amount of phony blood, nothing good can happen.
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Time of Favor could have given audiences the time of day by concentrating on the elements of a revealing alienation among a culture of people who sadly are at hostile odds with one another through recklessness and retaliation.
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A waste of fearless purity in the acting craft.
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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.
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Suffers from unlikable characters and a self-conscious sense of its own quirky hipness.
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Talky, artificial and opaque...an interesting technical exercise, but a tedious picture.
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Filled with low-brow humor, gratuitous violence and a disturbing disregard for life.
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The great pity is that those responsible didn't cut their losses – and ours – and retitle it The Adventures of Direct-to-Video Nash, and send it to its proper home.
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Beneath the uncanny, inevitable and seemingly shrewd facade of movie-biz farce...lies a plot cobbled together from largely flat and uncreative moments.
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More tiring than anything.
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Laconic and very stilted in its dialogue, this indie flick never found its audience, probably because it's extremely hard to relate to any of the characters.
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Uzumaki's interesting social parallel and defiant aesthetic seems a prostituted muse...
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A perceptive, good-natured movie.
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Maelstrom is strange and compelling, engrossing and different, a moral tale with a twisted sense of humor.
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If you're looking for a story, don't bother.
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Reign of Fire never comes close to recovering from its demented premise, but it does sustain an enjoyable level of ridiculousness.
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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.
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Other than a mildly engaging central romance, Hospital is sickly entertainment at best and mind-destroying cinematic pollution at worst.
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The movie is like Scorsese's Mean Streets redone by someone who ignored it in favor of old 'juvenile delinquent' paperbacks with titles like Leather Warriors and Switchblade Sexpot.
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Like the chilled breath of oral storytelling frozen onto film.
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Captivates as it shows excess in business and pleasure, allowing us to find the small, human moments, and leaving off with a grand whimper.
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Gay or straight, Kissing Jessica Stein is one of the greatest date movies in years.
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He drags it back, single-handed.
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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.
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There is nothing funny in this every-joke-has- been-told-a- thousand-times- before movie.
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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.
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Reggio and Glass put on an intoxicating show.
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A rare and lightly entertaining look behind the curtain that separates comics from the people laughing in the crowd.
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Be prepared to cling to the edge of your seat, tense with suspense.
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The mantra behind the project seems to have been 'it's just a kids' flick.'
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Both heartbreaking and heartwarming...just a simple fable done in an artless sytle, but it's tremendously moving.
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The series' message about making the right choice in the face of tempting alternatives remains prominent, as do the girls' amusing personalities.
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The Santa Clause 2's plot may sound like it was co-written by Mattel executives and lobbyists for the tinsel industry.
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It's surprisingly decent, particularly for a tenth installment in a series.
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True to its animatronic roots:...as stiff, ponderous and charmless as a mechanical apparatus...'The Country Bears' should never have been brought out of hibernation.
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The Piano Teacher is not an easy film.
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Degenerates into hogwash.
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Absurdities and clichés accumulate like lint in a fat man's navel.
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Those who are not acquainted with the author's work, on the other hand, may fall fast asleep.
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Sex With Strangers is fascinating ...
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Unlike Trey Parker, Sandler doesn't understand that the idea of exploiting molestation for laughs is funny, not actually exploiting it yourself.
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Byler is too savvy a filmmaker to let this morph into a typical romantic triangle.
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Green ruins every single scene he's in, and the film, while it's not completely wreaked, is seriously compromised by that.
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A minor film with major pleasures from Portuguese master Manoel de Oliviera...
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Stealing Harvard can't even do that much.
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Leguizamo and Jones are both excellent and the rest of the cast is uniformly superb.
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If the predictability of bland comfort food appeals to you, then the film is a pleasant enough dish.
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The story suffers a severe case of oversimplification, superficiality and silliness.
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A technical triumph and an extraordinary bore.
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The characters ... are paper-thin, and their personalities undergo radical changes when it suits the script.
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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.
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Likely to have decades of life as a classic movie franchise?
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What they see in each other also is difficult to fathom.
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This is a fascinating film because there is no clear-cut hero and no all-out villain.
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Another trumpet blast that there may be a New Mexican Cinema a-bornin'.
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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.
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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.
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