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a loud , low-budget and tired formula film that arrives cloaked in the euphemism 'urban drama . '

adams , with four scriptwriters , takes care with the characters , who are so believable that you feel what they feel .

dawdles and drags when it should pop ; it does n't even have the virtue of enough mindless violence to break up the tedium of all its generational bonding .

i know we 're not supposed to take it seriously , but i ca n't shake the thought that undercover brother missed an opportunity to strongly present some profound social commentary .

howard and his co-stars all give committed performances , but they 're often undone by howard 's self-conscious attempts to find a 'literary ' filmmaking style to match his subject .

a gentle , compassionate drama about grief and healing .

occasionally amateurishly made but a winsome cast and nice dialogue keeps it going .

based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters

the story is so light and sugary that were it a macy 's thanksgiving day parade balloon , extra heavy-duty ropes would be needed to keep it from floating away .

too clumsy in key moments . . . to make a big splash .

george clooney proves he 's quite a talented director and sam rockwell shows us he 's a world-class actor with confessions of a dangerous mind .

a typically observant , carefully nuanced and intimate french coming-of-age film that is an encouraging debut feature but has a needlessly downbeat ending that is too heavy for all that has preceded it .

these two are generating about as much chemistry as an iraqi factory poised to receive a un inspector .

4 friends , 2 couples , 2000 miles , and all the pabst blue ribbon beer they can drink - it 's the ultimate redneck road-trip .

you could say that it 's slow at times , you could say that a few of the characters act in ways that real people would n't , but one thing you could n't say is that alias betty is predictable .

M-^Ethe maudlin way its story unfolds suggests a director fighting against the urge to sensationalize his material .

director roger michell does so many of the little things right that it 's difficult not to cuss him out severely for bungling the big stuff .

it wraps up a classic mother/daughter struggle in recycled paper with a shiny new bow and while the audience can tell it 's not all new , at least it looks pretty .

. . . a somber film , almost completely unrelieved by any comedy beyond the wistful everyday ironies of the working poor .

it uses the pain and violence of war as background material for color .

it has the charm of the original american road movies , feasting on the gorgeous , ramshackle landscape of the filmmaker 's motherland .

the movie ultimately relies a bit too heavily on grandstanding , emotional , rocky-like moments . . . but it 's such a warm and charming package that you 'll feel too happy to argue much .

a funny and touching film that is gorgeously acted by a british cast to rival gosford park 's .

the fun of the movie is the chance it affords to watch jackson , who also served as executive producer , take his smooth , shrewd , powerful act abroad .

. . . plays like a badly edited , 91-minute trailer ( and ) the director ca n't seem to get a coherent rhythm going . in fact , it does n't even seem like she tried .

foster breathes life into a roll that could have otherwise been bland and run of the mill .

an absurdist spider web .

parris ' performance is credible and remarkably mature .

goldmember has none of the visual wit of the previous pictures , and it looks as though jay roach directed the film from the back of a taxicab .

a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china .

plays like john le carrM-i with a couple of burnt-out cylinders .

it has a way of seeping into your consciousness , with lingering questions about what the film is really getting at .

a tv episode inflated past its natural length .

stuffy , full of itself , morally ambiguous and nothing to shout about .

nothing more than a run-of-the-mill action flick .

that zhang would make such a strainingly cute film -- with a blind orphan at its center , no less -- indicates where his ambitions have wandered .

nicole kidman evolved from star to superstar some time over the past year , which means that birthday girl is the kind of quirkily appealing minor movie she might not make for a while .

those with a modicum of patience will find in these characters ' foibles a timeless and unique perspective .

there 's enough melodrama in this magnolia primavera to make pta proud yet director muccino 's characters are less worthy of puccini than they are of daytime television .

lan yu seems altogether too slight to be called any kind of masterpiece . it is , however , a completely honest , open-hearted film that should appeal to anyone willing to succumb to it .

a twisty , moody slice of southern gothic . . .

warm in its loving yet unforgivingly inconsistent depiction of everyday people , relaxed in its perfect quiet pace and proud in its message . i loved this film .

everything is pegged into the groove of a new york dating comedy with 'issues ' to simplify .

the story loses its bite in a last-minute happy ending that 's even less plausible than the rest of the picture . much of the way , though , this is a refreshingly novel ride .

an imaginative comedy/thriller .

star trek was kind of terrific once , but now it is a copy of a copy of a copy .

. . . bibbidy-bobbidi-bland .

resembles a soft porn brian de palma pastiche .

best enjoyed as a work of fiction inspired by real-life events . those seeking a definitive account of eisenstein 's life would do better elsewhere .

bravo for history rewritten , and for the uncompromising knowledge that the highest power of all is the power of love .

the series ' message about making the right choice in the face of tempting alternatives remains prominent , as do the girls ' amusing personalities .

a minor work yet there 's no denying the potency of miller 's strange , fleeting brew of hopeful perseverance and hopeless closure .

a delightful little film that revels in its own simplicity , mostly martha will leave you with a smile on your face and a grumble in your stomach .

it 's the kind of movie that ends up festooning u . s . art house screens for no reason other than the fact that it 's in french ( well , mostly ) with english subtitles and is magically 'significant ' because of that .

despite the surface attractions -- conrad l . hall 's cinematography will likely be nominated for an oscar next year -- there 's something impressive and yet lacking about everything .

the film just might turn on many people to opera , in general , an art form at once visceral and spiritual , wonderfully vulgar and sublimely lofty -- and as emotionally grand as life .

there was time on that second round to see the subtleties of ramsay 's portrait of grief .

no amount of good acting is enough to save oleander 's uninspired story .

whether you 're moved and love it , or bored or frustrated by the film , you 'll still feel something .

its initial excitement settles into a warmed over pastiche .

the pool drowned me in boredom .

rice never clearly defines his characters or gives us a reason to care about them .

it 's a pedestrian , flat drama that screams out 'amateur ' in almost every frame .

a perverse little truffle , dainty psychological terror on the outside with a creamy filling of familial jealousy and unrepentant domestic psychopathy .

formulaic to the 51st power , more like .

a refreshingly realistic , affectation-free coming-of-age tale .

a fanciful drama about napoleon 's last years and his surprising discovery of love and humility .

extreme oops - oops , ops , no matter how you spell it , it 's still a mistake to go see it .

what the film lacks in general focus it makes up for in compassion , as corcuera manages to find the seeds of hope in the form of collective action .

it 's both degrading and strangely liberating to see people working so hard at leading lives of sexy intrigue , only to be revealed by the dispassionate gantz brothers as ordinary , pasty lumpen .

life is a crock -- or something like it .

it is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time she fails to provoke them .

the cartoon is about as true to the spirit of the festival of lights as mr . deeds was to that of frank capra .

the recording session is the only part of the film that is enlightening -- and how appreciative you are of this depends on your level of fandom .

despite the film 's shortcomings , the stories are quietly moving .

shainberg weaves a carefully balanced scenario that is controlled by neither character , is weirdly sympathetic to both and manages to be tender and darkly comic .

my big fat greek wedding is that rare animal known as 'a perfect family film , ' because it 's about family .

the stories here suffer from the chosen format .

davis ' candid , archly funny and deeply authentic take on intimate relationships comes to fruition in her sophomore effort .

home alone goes hollywood , a funny premise until the kids start pulling off stunts not even steven spielberg would know how to do . besides , real movie producers are n't this nice .

probes in a light-hearted way the romantic problems of individuals for whom the yearning for passion spells discontent .

it 's neither as romantic nor as thrilling as it should be . but it offers plenty to ponder and chew on as its unusual relationship slowly unfolds .

the star who helped give a spark to `` chasing amy `` and `` changing lanes `` falls flat as thinking man cia agent jack ryan in this summer 's new action film , `` the sum of all fears . ``

an exhilarating serving of movie fluff .

unlike most teen flicks , swimming takes its time to tell its story , casts mostly little-known performers in key roles , and introduces some intriguing ambiguity .

a sleek advert for youthful anomie that never quite equals the sum of its pretensions .

reggio falls victim to relying on the very digital technology that he fervently scorns , creating a meandering , inarticulate and ultimately disappointing film .

i highly recommend irwin , but not in the way this film showcases him .

i know that i 'll never listen to marvin gaye or the supremes the same way again

a knowing sense of humor and a lot of warmth ignite son of the bride .

a slight but sweet film .

the film has [ its ] moments , but they are few and far between .

a nearly 21/2 hours , the film is way too indulgent .

there is n't nearly enough fun here , despite the presence of some appealing ingredients .

dreary tale of middle-class angst

parker updates the setting in an attempt to make the film relevant today , without fully understanding what it was that made the story relevant in the first place .

`` collateral damage `` goes by the numbers and reps decent action entertainment until the silly showdown ending that forces the viewer to totally suspend disbelief

an involving true story of a chinese actor who takes up drugs and winds up in an institution -- acted mostly by the actual people involved .

the history is fascinating ; the action is dazzling . they just do n't work in concert .

an intense and effective film about loneliness and the chilly anonymity of the environments where so many of us spend so much of our time .