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criminal conspiracies and true romances move so easily across racial and cultural lines in the film that it makes my big fat greek wedding look like an apartheid drama .

stealing harvard is evidence that the farrelly bros . -- peter and bobby -- and their brand of screen comedy are wheezing to an end , along with green 's half-hearted movie career .

it 's kind of sad that so many people put so much time and energy into this turkey .

offers a guilt-free trip into feel-good territory .

american and european cinema has amassed a vast holocaust literature , but it is impossible to think of any film more challenging or depressing than the grey zone .

the socio-histo-political treatise is told in earnest strides . . . [ and ] personal illusion is deconstructed with poignancy .

impresses you with its open-endedness and surprises .

we have an actor who is great fun to watch performing in a film that is only mildly diverting .

a movie in which two not very absorbing characters are engaged in a romance you ca n't wait to see end .

you 'll get the enjoyable basic minimum . but not a whit more .

el tM-mtulo no engaM-qa : la pelM-mcula narra una historia donde una mujer enfrentarM-a cierta realidad , y donde el sexo es . . .

like edward norton in american history x , ryan gosling ( murder by numbers ) delivers a magnetic performance .

what the director can & # 8217 ; t do is make either of val kilmer & # 8217 ; s two personas interesting or worth caring about .

stock up on silver bullets for director neil marshall 's intense freight train of a film .

the film 's almost unbearable portrait of sadness and grief transcends its specific story to speak to the ways in which need , history and presumption tangle , and sometimes destroy , blood ties .

no one but a convict guilty of some truly heinous crime should have to sit through the master of disguise .

the film is based on truth and yet there is something about it that feels incomplete , as if the real story starts just around the corner .

one of the very best movies ever made about the life of moviemaking .

seagal ran out of movies years ago , and this is just the proof .

unlike lots of hollywood fluff , this has layered , well-developed characters and some surprises .

even by the intentionally low standards of frat-boy humor , sorority boys is a bowser .

i 've heard that the fans of the first men in black have come away hating the second one . i wonder why . they felt like the same movie to me .

a incompetM-jncia de marcus adams como roteirista sM-s M-i superada por sua pM-issima direM-gM-co .

it 's quaid who anchors the film with his effortless performance and that trademark grin of his -- so perfect for a ballplayer .

jones . . . does offer a brutal form of charisma .

every nanosecond of the the new guy reminds you that you could be doing something else far more pleasurable . something like scrubbing the toilet . or emptying rat traps . or doing last year 's taxes with your ex-wife .

a tough go , but leigh 's depth and rigor , and his skill at inspiring accomplished portrayals that are all the more impressive for their lack of showiness , offsets to a notable degree the film 's often-mined and despairing milieu .

. . . contains very few laughs and even less surprises .

. . . once the true impact of the day unfolds , the power of this movie is undeniable .

the movie 's relatively simple plot and uncomplicated morality play well with the affable cast .

based on dave barry 's popular book of the same name , the movie benefits from having a real writer plot out all of the characters ' moves and overlapping story .

mcconaughey 's fun to watch , the dragons are okay , not much fire in the script .

. . . hypnotically dull .

a surprisingly flat retread , hobbled by half-baked setups and sluggish pacing .

oedekerk wrote patch adams , for which he should not be forgiven . why he was given free reign over this project -- he wrote , directed , starred and produced -- is beyond me .

from the big giant titles of the opening credits to elmer bernstein 's perfectly melodic score , haynes gets just about everything right .

it 's great escapist fun that recreates a place and time that will never happen again .

[ plays ] in broad outline as pandering middle-age buddy-comedy .

remove spider-man the movie from its red herring surroundings and it 's apparent that this is one summer film that satisfies .

a terrific date movie , whatever your orientation .

the movie is a trove of delights .

as home movie gone haywire , it 's pretty enjoyable , but as sexual manifesto , i 'd rather listen to old tori amos records .

showtime is one of the hapless victims of the arrogant `` if we put together a wry white man and a chatty black man and give them guns , the movie will be funny `` syndrome .

while parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast . . . have made the old boy 's characters more quick-witted than any english lit major would have thought possible .

a waterlogged version of 'fatal attraction ' for the teeny-bopper set . . . a sad , soggy potboiler that wastes the talents of its attractive young leads .

bon appM-itit ! just like a splendid meal , red dragon satisfies from its ripe recipe , inspiring ingredients , certified cuisine and palatable presentation .

you come away wishing , though , that the movie spent a lot less time trying to make a credible case for reports from the afterlife and a lot more time on the romantic urgency that 's at the center of the story .

like a south-of-the-border melrose place .

a strangely stirring experience that finds warmth in the coldest environment and makes each crumb of emotional comfort feel like a 10-course banquet .

the special effects and many scenes of weightlessness look as good or better than in the original , while the oscar-winning sound and james horner 's rousing score make good use of the hefty audio system .

oedekerk mugs mercilessly , and the genuinely funny jokes are few and far between .

a strong first act and absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man .

rife with nutty cliches and far too much dialogue .

this movie is about lying , cheating , but loving the friends you betray .

[ it 's ] a clever thriller with enough unexpected twists to keep our interest .

a flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds .

it 's surprisingly bland despite the heavy doses of weird performances and direction .

the movie is ingenious fun . see it .

in its best moments , resembles a bad high school production of grease , without benefit of song .

this in-depth study of important developments of the computer industry should make it required viewing in university computer science departments for years to come .

a markedly inactive film , city is conversational bordering on confessional .

while benigni ( who stars and co-wrote ) seems to be having a wonderful time , he might be alone in that .

all the actors are good in pauline & paulette but van der groen , described as 'belgium 's national treasure , ' is especially terrific as pauline .

a compendium of solondz 's own worst instincts in under 90 minutes .

the movie turns out to be [ assayas ' ] homage to the gallic 'tradition of quality , ' in all its fusty squareness .

[ soderbergh ] tends to place most of the psychological and philosophical material in italics rather than trust an audience 's intelligence , and he creates an overall sense of brusqueness .

an infectious cultural fable with a tasty balance of family drama and frenetic comedy .

writer-director walter hill and co-writer david giler try to create characters out of the obvious cliches , but wind up using them as punching bags .

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 .

the movie 's accumulated force still feels like an ugly knot tightening in your stomach . but is that knot from dramatic tension or a symptom of artistic malnutrition ?

this film was made to get laughs from the slowest person in the audience -- just pure slapstick with lots of inane , inoffensive screaming and exaggerated facial expressions .

there is only so much baked cardboard i need to chew .

serry does a fine job of capturing the climate of the times and , perhaps unwittingly , relating it to what is happening in america in 2002 . but hard-to-believe plot twists force the movie off track in its final half hour .

the 50-something lovebirds are too immature and unappealing to care about .

control-alt-delete simone as quickly as possible

below is well below expectations .

an old-fashioned scary movie , one that relies on lingering terror punctuated by sudden shocks and not constant bloodshed punctuated by flying guts .

in my own very humble opinion , in praise of love lacks even the most fragmented charms i have found in almost all of his previous works .

what could have been a pointed little chiller about the frightening seductiveness of new technology loses faith in its own viability and succumbs to joyless special-effects excess .

the film does give a pretty good overall picture of the situation in laramie following the murder of matthew shepard .

the animation merely serves up a predictable , maudlin story that swipes heavily from bambi and the lion king , yet lacks the emotional resonance of either of those movies .

it just may inspire a few younger moviegoers to read stevenson 's book , which is a treasure in and of itself .

does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets .

just how extreme are these ops ? i regret to report that these ops are just not extreme enough .

a taut psychological thriller that does n't waste a moment of its two-hour running time .

smart science fiction for grown-ups , with only a few false steps along the way .

most impressive , though , is the film 's open-ended finale that refuses to entirely close its characters ' emotional wounds .

first , for a movie that tries to be smart , it 's kinda dumb . and second , what 's with all the shooting ?

it 's a glorified sitcom , and a long , unfunny one at that .

evokes a little of the fear that parents have for the possible futures of their children -- and the sometimes bad choices mothers and fathers make in the interests of doing them good .

. . . mesmerizing , an eye-opening tour of modern beijing culture in a journey of rebellion , retreat into oblivion and return .

offers enough playful fun to entertain the preschool set while embracing a wholesome attitude .

was i scared ? only at the prospect of beck 's next project . let 's see , a haunted house , a haunted ship , what 's next . . . ghost blimp ?

it 's a cool event for the whole family . maybe not a classic , but a movie the kids will want to see over and over again .

as a randy film about sexy people in gorgeous places being pushed and pulled ( literally and figuratively ) by desire . . . [ sex and lucM-ma ] makes for an arousing good time .

hailed as a clever exercise in neo-hitchcockianism , this clever and very satisfying picture is more accurately chabrolian .

apparently designed as a reverie about memory and regret , but the only thing you 'll regret is remembering the experience of sitting through it .

a work of intricate elegance , literary lyricism and profound common sense .

as david letterman and the onion have proven , the worst of tragedies can be fertile sources of humor , but lawrence has only a fleeting grasp of how to develop them .

it 's played in the most straight-faced fashion , with little humor to lighten things up . the heavy-handed film is almost laughable as a consequence .