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The troubling thing about Clockstoppers is that it doesn't make any sense.
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Uneven performances and a spotty script add up to a biting satire that has no teeth.
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Even on its own ludicrous terms, The Sum of All Fears generates little narrative momentum, and invites unflattering comparisons to other installments in the Ryan series.
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Boasts enough funny dialogue and sharp characterizations to be mildly amusing.
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The most offensive thing about the movie is that Hollywood expects people to pay to see it.
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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.
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The author's devotees will probably find it fascinating; others may find it baffling.
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The tasteful little revision works wonders, enhancing the cultural and economic subtext, bringing richer meaning to the story's morals.
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It's Quaid who anchors the film with his effortless performance and that trademark grin of his -- so perfect for a ballplayer.
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Often messy and frustrating, but very pleasing at its best moments, it's very much like life itself.
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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.
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Sinks so low in a poorly played game of absurd plot twists, idiotic court maneuvers and stupid characters that even Freeman can't save it.
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This is the kind of movie that gets a quick release before real contenders arrive in September.
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Talk To Her is not the perfect movie many have made it out to be, but it's still quite worth seeing.
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It's also built on a faulty premise, one it follows into melodrama and silliness.
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Shafer's feature doesn't offer much in terms of plot or acting.
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In fact, even better.
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Feels familiar and tired.
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The movie is too impressed with its own solemn insights to work up much entertainment value.
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But it's worth the concentration.
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A complex psychological drama about a father who returns to his son's home after decades away.
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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.
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Humorous and heartfelt, Douglas McGrath's version of 'Nicholas Nickleby' left me feeling refreshed and hopeful.
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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
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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.
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Is not so much a work of entertainment as it is a unique, well-crafted psychological study of grief.
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Brosnan's finest non-Bondish performance yet fails to overcome the film's manipulative sentimentality and annoying stereotypes.
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An even more predictable, cliche-ridden endeavor than its predecessor.
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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.
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Catch it... if you can!
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To say that this vapid vehicle is downright doltish and uneventful is just as obvious as telling a country skunk that he has severe body odor.
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It's not too much of anything.
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One of the most highly-praised disappointments I've had the misfortune to watch in quite some time.
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Everything was as superficial as the forced New Jersey lowbrow accent Uma had.
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The Bard as black comedy -- Willie would have loved it.
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Memorable for a peculiar malaise that renders its tension flaccid and, by extension, its surprises limp and its resolutions ritual.
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This is one of those rare docs that paints a grand picture of an era and makes the journey feel like a party.
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The performances are remarkable.
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As much as I laughed throughout the movie, I cannot mount a cogent defense of the film as entertainment, or even performance art, although the movie does leave you marveling at these guys' superhuman capacity to withstand pain.
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Not a strike against Yang's similarly themed Yi Yi, but I found What Time?
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Everything that was right about Blade is wrong in its sequel.
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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.
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This is a shrewd and effective film from a director who understands how to create and sustain a mood.
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(P)artnering Murphy with Robert De Niro for the TV-cops comedy Showtime would seem to be surefire casting.
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I have a confession to make: I didn't particularly like E.T. the first time I saw it as a young boy.
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A captivating new film.
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It tends to remind one of a really solid Woody Allen film, with its excellent use of New York locales and sharp writing
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You'd have to be a most hard-hearted person not to be moved by this drama.
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This is just lazy writing.
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A movie that will surely be profane, politically charged music to the ears of Cho's fans.
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While the ensemble player who gained notice in Guy Ritchie's Lock, Stock and Two Smoking Barrels and Snatch has the bod, he's unlikely to become a household name on the basis of his first starring vehicle.
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Coppola has made a film of intoxicating atmosphere and little else.
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is one of this year's very best pictures.
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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.
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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.
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A compelling French psychological drama examining the encounter of an aloof father and his chilly son after 20 years apart.
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Ong's promising debut is a warm and well-told tale of one recent Chinese immigrant's experiences in New York City.
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Satisfyingly scarifying, fresh and old-fashioned at the same time.
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Trailer trash cinema so uncool the only thing missing is the "Gadzooks!"
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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.
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Because the genre is well established, what makes the movie fresh is smart writing, skewed characters, and the title performance by Kieran Culkin.
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More sophisticated and literate than such pictures usually are...an amusing little catch.
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I found The Ring moderately absorbing, largely for its elegantly colorful look and sound.
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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.
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And it's harder still to believe that anyone in his right mind would want to see the it.
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Contrived as this may sound, Mr. Rose's updating works surprisingly well.
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Mr. Deeds is not really a film as much as it is a loose collection of not-so-funny gags, scattered moments of lazy humor.
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Just a string of stale gags, with no good inside dope, and no particular bite.
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It's always enthralling.
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One big blustery movie where nothing really happens.
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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.
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Diane Lane works nothing short of a minor miracle in Unfaithful.
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One of the very best movies ever made about the life of moviemaking.
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is many things -- stoner midnight flick, sci-fi deconstruction, gay fantasia -- but above all it's a love story as sanguine as its title.
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But if the essence of magic is its make-believe promise of life that soars above the material realm, this is the opposite of a truly magical movie.
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A loud, brash and mainly unfunny high school comedy.
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Watching junk like this induces a kind of abstract guilt, as if you were paying dues for good books unread, fine music never heard.
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An Inuit masterpiece that will give you goosebumps as its uncanny tale of love, communal discord, and justice unfolds.
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Can be viewed as pure composition and form -- film as music
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This is a remake by the numbers, linking a halfwit plot to a series of standup routines in which Wilson and Murphy show how funny they could have been in a more ambitious movie.
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The jokes are telegraphed so far in advance they must have been lost in the mail.
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a cruelly funny twist on teen comedy packed with inventive cinematic tricks and an ironically killer soundtrack
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Smarter than its commercials make it seem.
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A reasonably entertaining sequel to 1994's surprise family hit that may strain adult credibility.
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Could have been crisper and punchier, but it's likely to please audiences who like movies that demand four hankies.
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A French film with a more down-home flavor.
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When a movie asks you to feel sorry for Mick Jagger's sex life, it already has one strike against it.
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An Asian neo-realist treasure.
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Generic thriller junk.
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An honest, sensitive story from a Vietnamese point of view.
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While some of the camera work is interesting, the film's mid-to-low budget is betrayed by the surprisingly shoddy makeup work.
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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.
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Apparently, romantic comedy with a fresh point of view just doesn't figure in the present Hollywood program.
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Thanks to confident filmmaking and a pair of fascinating performances, the way to that destination is a really special walk in the woods.
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A compelling allegory about the last days of Germany's democratic Weimar Republic.
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or maybe "How will you feel after an 88-minute rip-off of The Rock with action confined to slo-mo gun firing and random glass-shattering?"
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It falls far short of poetry, but it's not bad prose.
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The things this movie tries to get the audience to buy just won't fly with most intelligent viewers.
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Sillier, cuter, and shorter than the first (as best I remember), but still a very good time at the cinema.
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By the time the surprise ending is revealed, interest cannot be revived.