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A much more successful translation than its most famous previous film adaptation, writer-director Anthony Friedman's similarly updated 1970 British production.
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Hugh Grant's act is so consuming that sometimes it's difficult to tell who the other actors in the movie are.
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Mendes still doesn't quite know how to fill a frame.
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But darned if it doesn't also keep us riveted to our seats.
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Such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema.
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There's too much forced drama in this wildly uneven movie, about a young man's battle with his inescapable past and uncertain future in a very shapable but largely unfulfilling present.
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To call this film a lump of coal would only be to flatter it.
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All of the filmmakers' calculations can't rescue Brown Sugar from the curse of blandness.
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Intriguing and stylish.
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A few nonbelievers may rethink their attitudes when they see the joy the characters take in this creed, but skeptics aren't likely to enter the theater.
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Mostly, Shafer and co-writer Gregory Hinton lack a strong-minded viewpoint, or a sense of humor.
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It should be interesting, it should be poignant, it turns out to be affected and boring.
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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.
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Cold, nervy and memorable.
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First-timer John McKay is never able to pull it back on course.
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You can practically hear George Orwell turning over.
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Helmer Hudlin tries to make a hip comedy, but his dependence on slapstick defeats the possibility of creating a more darkly edged tome.
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Passion, melodrama, sorrow, laugther, and tears cascade over the screen effortlessly...
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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.
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What Jackson has done is proven that no amount of imagination, no creature, no fantasy story and no incredibly outlandish scenery
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There isn't one moment in the film that surprises or delights.
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Spiderman ROCKS
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The plot is plastered with one Hollywood cliche after another, most of which involve precocious kids getting the better of obnoxious adults.
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Astonishing isn't the word -- neither is incompetent, incoherent or just plain crap.
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You might want to take a reality check before you pay the full ticket price to see "Simone," and consider a DVD rental instead.
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Unfortunately, a cast of competent performers from movies, television and the theater are cast adrift in various New York City locations with no unifying rhythm or visual style.
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Kids five and up will be delighted with the fast, funny, and even touching story.
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Still, the updated Dickensian sensibility of writer Craig Bartlett's story is appealing.
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waydowntown manages to nail the spirit-crushing ennui of denuded urban living without giving in to it.
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He watches them as they float within the seas of their personalities.
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hard as this may be to believe, Here on Earth, a surprisingly similar teen drama, was a better film.
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It's a funny little movie with clever dialogue and likeable characters.
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This charming, thought-provoking New York fest of life and love has its rewards.
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A full-frontal attack on audience patience.
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... less a story than an inexplicable nightmare, right down to the population's shrugging acceptance to each new horror.
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This long and relentlessly saccharine film is a clear case of preaching to the converted.
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The film is old-fashioned, occasionally charming and as subtle as boldface.
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An entertaining mix of period drama and flat-out farce that should please history fans.
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A very well-meaning movie, and it will stand in future years as an eloquent memorial to the World Trade Center tragedy.
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It's pretty linear and only makeup-deep, but Bogdanovich ties it together with efficiency and an affection for the period.
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Adaptation is simply brilliant.
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A thought-provoking picture.
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But arriving at a particularly dark moment in history, it offers flickering reminders of the ties that bind us.
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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.
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Presents nothing special and, until the final act, nothing overtly disagreeable.
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Turturro is fabulously funny and over the top as a 'very sneaky' butler who excels in the art of impossible disappearing/reappearing acts
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Director Yu seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we haven't seen 10,000 times.
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Average, at best, I'm afraid.
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This is a superior horror flick.
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The cast delivers without sham the raw-nerved story.
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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.
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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.
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I felt trapped and with no obvious escape for the entire 100 minutes.
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Although I didn't hate this one, it's not very good either.
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Cattaneo reworks the formula that made The Full Monty a smashing success ... but neglects to add the magic that made it all work.
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A moving and not infrequently breathtaking film.
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While the plot follows a predictable connect-the-dots course... director John Schultz colors the picture in some evocative shades.
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Anemic, pretentious.
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With few respites, Marshall keeps the energy humming, and his edits, unlike those in Moulin Rouge, are crisp and purposeful without overdoing it.
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Light-years ahead of paint-by-number American blockbusters like Pearl Harbor, at least artistically.
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One of those unassuming films that sneaks up on you and stays with you long after you have left the theatre.
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All of it works smoothly under the direction of Spielberg, who does a convincing impersonation here of a director enjoying himself immensely.
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A work that lacks both a purpose and a strong pulse.
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A moving, if uneven, success.
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It's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads.
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(A) real pleasure in its laid-back way.
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Feels like pieces a bunch of other, better movies slapped together.
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Has all the hallmarks of a movie designed strictly for children's home video, a market so insatiable it absorbs all manner of lame entertainment, as long as 3-year-olds find it diverting.
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...too contrived to be as naturally charming as it needs to be.
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...in no way original, or even all that memorable, but as downtown Saturday matinee brain candy, it doesn't disappoint.
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The 50-something lovebirds are too immature and unappealing to care about.
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After a while, the only way for a reasonably intelligent person to get through The Country Bears is to ponder how a whole segment of pop-music history has been allowed to get wet, fuzzy and sticky.
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A lot of fun, with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers.
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A breathtaking adventure for all ages, Spirit tells its poignant and uplifting story in a stunning fusion of music and images.
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This is a nicely handled affair, a film about human darkness but etched with a light (yet unsentimental) touch.
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A bland animated sequel that hardly seems worth the effort.
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Unspeakable, of course, barely begins to describe the plot and its complications.
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A limp Eddie Murphy vehicle that even he seems embarrassed to be part of.
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The film sparkles with the the wisdom and humor of its subjects.
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Though a capable thriller, somewhere along the way K-19 jettisoned some crucial drama.
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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.
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In Auteil's less dramatic but equally incisive performance, he's a charismatic charmer likely to seduce and conquer.
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How many more times will indie filmmakers subject us to boring, self-important stories of how horrible we are to ourselves and each other?
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This is a movie that refreshes the mind and spirit along with the body, so original is its content, look, and style.
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A much better documentary -- more revealing, more emotional and more surprising -- than its pedestrian English title would have you believe.
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'If you are in the mood for an intelligent weepy, it can easily worm its way into your heart.'
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Who knows, but it works under the direction of Kevin Reynolds.
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It's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on Oprah.
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Lacking substance and soul, Crossroads comes up shorter than Britney's cutoffs.
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Simple, poignant and leavened with humor, it's a film that affirms the nourishing aspects of love and companionship.
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At times, the movie looks genuinely pretty.
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A deliberative account of a lifestyle characterized by its surface-obsession – one that typifies the delirium of post, pre, and extant stardom.
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This is surely one of the most frantic, virulent and foul-natured Christmas season pics ever delivered by a Hollywood studio.
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I simply can't recommend it enough.
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It's a glorified sitcom, and a long, unfunny one at that.
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Returning director Rob Minkoff ... and screenwriter Bruce Joel Rubin ... have done a fine job of updating White's dry wit to a new age.
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With Zoe Clarke-Williams's lackluster thriller "New Best Friend", who needs enemies?
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Just send it to Cranky.
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It's secondary to American Psycho but still has claws enough to get inside you and stay there for a couple of hours.
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One of the funnier movies in town.
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