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angela gheorghiu as famous prima donna floria tosca , roberto alagna as her lover mario cavaradossi , and ruggero as the villainous , lecherous police chief scarpia , all sing beautifully and act adequately .

the story 's so preposterous that i did n't believe it for a second , despite the best efforts of everyone involved .

[ a ] rare , beautiful film .

a fiercely clever and subtle film , capturing the precarious balance between the extravagant confidence of the exiled aristocracy and the cruel earnestness of the victorious revolutionaries .

could have been crisper and punchier , but it 's likely to please audiences who like movies that demand four hankies .

an intimate , good-humored ethnic comedy like numerous others but cuts deeper than expected .

this is n't a terrible film by any means , but it 's also far from being a realized work .

not so much funny as aggressively sitcom-cute , it 's full of throwaway one-liners , not-quite jokes , and a determined tv amiability that allen personifies .

i know i should n't have laughed , but hey , those farts got to my inner nine-year-old .

as shaky as the plot is , kaufman 's script is still memorable for some great one-liners .

the explosion essentially ruined -- or , rather , overpowered -- the fiction of the movie for me .

tv skit-com material fervently deposited on the big screen .

. . . while the humor aspects of 'jason x ' were far more entertaining than i had expected , everything else about the film tanks .

frida 's artistic brilliance is undeniable -- it 's among the most breathtakingly designed films i 've ever seen .

responsM-avel direto pelo fracasso 'artM-mstico ' de doce lar , o roteirista c . jay cox nM-co consegue sequer aproveitar os pouquM-mssimos momentos em que escapa da mediocridade .

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 .

i watched the brainless insanity of no such thing with mounting disbelief .

rubbo runs through a remarkable amount of material in the film 's short 90 minutes .

to be oblivious to the existence of this film would be very sweet indeed .

blessed with two fine , nuanced lead performances .

the most ill-conceived animated comedy since the 1991 dog rover dangerfield .

it 's hard to like a film about a guy who is utterly unlikeable , and shiner , starring michael caine as an aging british boxing promoter desperate for a taste of fame and fortune , is certainly that .

half of it is composed of snappy patter and pseudo-sophisticated cultural observations , while the remainder . . . would be more at home on a daytime television serial .

broomfield turns his distinctive 'blundering ' style into something that could really help clear up the case .

one of [ herzog 's ] least inspired works .

steers turns in a snappy screenplay that curls at the edges ; it 's so clever you want to hate it . but he somehow pulls it off .

the faithful will enjoy this sometimes wry adaptation of v . s . naipaul 's novel , but newcomers may find themselves stifling a yawn or two during the first hour .

a dumb movie with dumb characters doing dumb things and you have to be really dumb not to see where this is going .

downbeat , period-perfect biopic hammers home a heavy-handed moralistic message .

jackson tries to keep the plates spinning as best he can , but all the bouncing back and forth ca n't help but become a bit tedious -- even with the breathtaking landscapes and villainous varmints there to distract you from the ricocheting .

for the most part , i spy was an amusing lark that will probably rank as one of murphy 's better performances in one of his lesser-praised movies .

. . . too gory to be a comedy and too silly to be an effective horror film .

una pelM-mcula oscura , precisa , por momentos grandiosa y casi siempre conmovedora .

the film is quiet , threatening and unforgettable .

a rather average action film that benefits from several funny moments supplied by epps .

plodding , poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo .

told just proficiently enough to trounce its overly comfortable trappings .

the movie is like a year late for tapping into our reality tv obsession , and even tardier for exploiting the novelty of the `` webcast . ``

may be far from the best of the series , but it 's assured , wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation .

do not see this film .

presents an astute appraisal of middle american musical torpor and the desperate struggle to escape it .

a domestic melodrama with weak dialogue and biopic cliches .

irwin and his director never come up with an adequate reason why we should pay money for what we can get on television for free .

she may not be real , but the laughs are .

featherweight romantic comedy has a few nice twists in a standard plot and the charisma of hugh grant and sandra bullock .

if ayurveda can help us return to a sane regimen of eating , sleeping and stress-reducing contemplation , it is clearly a good thing .

there 's none of the happily-ever -after spangle of monsoon wedding in late marriage -- and that 's part of what makes dover kosashvili 's outstanding feature debut so potent .

while it regards 1967 as the key turning point of the 20th century , and returns again and again to images of dissidents in the streets , it 's alarmingly current .

faultlessly professional but finally slight .

the movie takes itself too seriously and , as a result , it makes for only intermittent fun .

further proof that the epicenter of cool , beautiful , thought-provoking foreign cinema is smack-dab in the middle of dubya 's axis of evil .

featuring a dangerously seductive performance from the great daniel auteuil , `` sade `` covers the same period as kaufmann 's `` quills `` with more unsettlingly realistic results .

even bigger and more ambitious than the first installment , spy kids 2 looks as if it were made by a highly gifted 12-year-old instead of a grown man .

[ seagal 's ] strenuous attempt at a change in expression could very well clinch him this year 's razzie .

a stirring tribute to the bravery and dedication of the world 's reporters who willingly walk into the nightmare of war not only to record the events for posterity , but to help us clearly see the world of our making .

this odd , poetic road movie , spiked by jolts of pop music , pretty much takes place in morton 's ever-watchful gaze -- and it 's a tribute to the actress , and to her inventive director , that the journey is such a mesmerizing one .

the script kicks in , and mr . hartley 's distended pace and foot-dragging rhythms follow .

awesome creatures , breathtaking scenery , and epic battle scenes add up to another 'spectacular spectacle . '

barry sonnenfeld owes frank the pug big time

a fascinating but choppy documentary .

with its hint of an awkward hitchcockian theme in tact , harmon 's daunting narrative promotes a reasonable landscape of conflict and pathos to support the scattershot terrorizing tone

an inventive , absorbing movie that 's as hard to classify as it is hard to resist .

a movie that 's about as overbearing and over-the-top as the family it depicts .

could i have been more geeked when i heard that apollo 13 was going to be released in imax format ? in a word : no .

the master of disguise represents adam sandler 's latest attempt to dumb down the universe .

watching war photographer , you come to believe that nachtwey hates the wars he shows and empathizes with the victims he reveals .

. . . a movie that , quite simply , should n't have been made .

captures that perverse element of the kafkaesque where identity , overnight , is robbed and replaced with a persecuted `` other . ``

christina ricci comedy about sympathy , hypocrisy and love is a misfire .

there are flaws , but also stretches of impact and moments of awe ; we 're wrapped up in the characters , how they make their choices , and why .

too much of nemesis has a tired , talky feel .

the dangerous lives of altar boys ' take on adolescence feels painfully true .

for all its visual panache and compelling supporting characters , the heart of the film rests in the relationship between sullivan and his son .

. . . a series of tales told with the intricate preciseness of the best short story writing .

the sweetest thing , a romantic comedy with outrageous tendencies , may be a mess in a lot of ways . but it does have one saving grace . a lot of its gags and observations reflect a woman 's point-of-view .

suffers from over-familiarity since hit-hungry british filmmakers have strip-mined the monty formula mercilessly since 1997 .

a perfectly respectable , perfectly inoffensive , easily forgettable film .

'aunque recurre a ciertos clichM-is del gM-inero , la poderosa actuaciM-sn de robin williams perdona las fallas del guiM-sn . '

moving and vibrant .

a frantic search for laughs , with a hit-to-miss ratio that does n't exactly favour the audience .

delivers the same old same old , tarted up with latin flava and turned out by hollywood playas .

it 's basically an overlong episode of tales from the crypt .

the scriptwriters are no less a menace to society than the film 's characters .

the most brilliant and brutal uk crime film since jack carter went back to newcastle , the first half of gangster no . 1 drips with style and , at times , blood .

it would be hard to think of a recent movie that has worked this hard to achieve this little fun .

a tone poem of transgression .

as the movie traces mr . brown 's athletic exploits , it is impossible not to be awed by the power and grace of one of the greatest natural sportsmen of modern times .

a sharp and quick documentary that is funny and pithy , while illuminating an era of theatrical comedy that , while past , really is n't .

a richly imagined and admirably mature work from a gifted director who definitely has something on his mind .

not every animated film from disney will become a classic , but forgive me if i 've come to expect more from this studio than some 79-minute after-school `` cartoon `` .

more a gunfest than a rock concert .

this is a picture that maik , the firebrand turned savvy ad man , would be envious of : it hijacks the heat of revolution and turns it into a sales tool .

the primitive force of this film seems to bubble up from the vast collective memory of the combatants . it 's like watching a nightmare made flesh .

rare birds has more than enough charm to make it memorable .

. . . jones , despite a definitely distinctive screen presence , just is n't able to muster for a movie that , its title notwithstanding , should have been a lot nastier if it wanted to fully capitalize on its lead 's specific gifts .

prancing his way through the tailor-made part of a male hooker approaching the end of his vitality , jagger obviously relishes every self-mocking moment .

wobbly senegalese updating of `` carmen `` which is best for the stunning star turn by djeinaba diop gai

schnitzler 's film has a great hook , some clever bits and well-drawn , if standard issue , characters , but is still only partly satisfying .

kids who are into this thornberry stuff will probably be in wedgie heaven . anyone else who may , for whatever reason , be thinking about going to see this movie is hereby given fair warning .

it 's hard to say who might enjoy this , are there tolstoy groupies out there ? it 's dark and tragic , and lets the business of the greedy talent agents get in the way of saying something meaningful about facing death