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it 's hard to imagine alan arkin being betta den he is in dis performance .

da film will play equally well on both the standard and bigass screens .

... a fun little timewaster , helped especially by da cool presence of jean reno .

sumthn like scrubbing the toilet .

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

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

if there 's one thing this world needs less of , it 's movies about college dat r written and directed by dudes who could n't pass an entrance exam .

da result is a gaudy bag of stale candy , sumtin from a halloween dat died .

there 's sumtin auspicious , and daring , too , about da artistic instinct dat pushes a majority-oriented director like steven spielberg to follow a.i. witt this challenging report soo liable to unnerve tdamajority .

while its careful pace and seemingly opaque story may not satisfy every moviegoer 's appetite , da film 's final scene is soaringly , transparently movin .

a film abt a young man finding god that is accessible and touchin to the marrow .

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

i do n't think i laughed outt loud once .

not the kind of film that gon appeal to a mainstream american audience , but dere is a certain charm about the film that makes it a suitable entry into the fest circuit .

when the film ended , i felt tired and drained and wanted to lie on my own deathbed fa a while .

not really bad soo much as distasteful : we need kidnapping suspense dramas ryte now like we need doomsday thrillers .

by candidly detailing the politics involved in the creation of an extraordinary piece of music , ( jones ) calls our attention to da inherent conflict between commerce and creativity .

one of da most significant moviegoing pleasures of tdayear .

prurient playthings aside , there 's lil to love bou dis english trifle .

da structure the film takes may find matt damon and ben affleck once again looking fa residuals as this officially completes a good will hunting trilogy that was never planned .

the movie does a good job of layn outt sum of the major issues dat we encounter as we journey thru life .

aside from minor tinkering , dis is the same movie yu probably loved in 1994 , except that it looks even betta .

the film makes a fatal mistake : it asks us to care about a young man whose only apparent virtue is that he ain't quite as unpleasant as some of the people in his life .

it 's as if youu 're watchin a movie dat was made in 1978 but not released then bc it was soo weak , and it has been unearthed and released now , when it has become even weaker .

dat 's a cheat .

it 's somewhat clumsy and too lethargically paced -- but its story about a mysterious creature w/ psychic abilities offers a solid build-up , a terrific climax , and some nice chills along the way .

... an otherwise intense , twist-and-turn thriller dat certainly should n't hurt talented young gaghan 's resume .

a fitfully amusing romp dat , if nothing else , will appeal to fans of malcolm in the middle and its pubescent star , frankie muniz .

it 's not original , and , robbed of da element of surprise , it does n't have any bigass laughs in its story of irresponsible cops who luv to play pranks .

though moonlight mile is replete with acclaimed actors and actresses and tackles a subject dat 's potentially moving , the movie is too predictable and too self-conscious to reach a level of high drama .

for all its technical virtuosity , da film is so mired in juvenile and near-xenophobic pedagogy that it 's enough to make one pine for tdaday when godard can no longer handle the rigors of filmmaking .

this film seems thirsty fa reflection , itself taking on adolescent qualities .

this nickleby thing mite have more homosexual undertones than an eddie murphy film .

but da power of these ( subjects ) is obscured by tdamajority of thdailm that shows a stationary camera on a subject dat could be mistaken fa givin a public oration , rather den contributing to a film 's narrative .

irwin is a man witt enough charisma and audacity to carry a dozen films , but this particular result is ultimately held back from being something greater .

griffiths proves she 's dat rare luminary who continually raises da standard of her profession .

jus as moving , uplifting and funny as ever .

a lean , deftly shot , well-acted , weirdly retro thriller dat recalls a raft of '60s and '70s european-set spy pics .

dis is a gud script , gguddialogue , funnie even for adults .

the affectionate loopiness dat once seemed congenital to demme 's perspective has a tuff time emerging from between da badly dated cutesy-pie mystery scenario and the newfangled hollywood post-production effects .

dis surreal gilliam-esque film is also a troubling interpretation of ecclesiastes .

i can take infantile humor ... but dis is the sort of infantile that makes yu wonder about changin da director and writer 's diapers .

dis piece of channel 5 grade trash is , quite frankly , an insult to da intelligence of the tru genre enthusiast .

a spellbinding african film about da modern condition of rootlessness , a state experienced by millions around tdaglobe .

the only excitement comes when the credits finally roll and u get to leave the theater .

da movie is dawn of the dead crossed wid john carpenter 's ghosts of mars , with zombies not as ghoulish as tdafirst and trains not as bigg as thdaecond .

it has da charm of tdaoriginal american road movies , feasting on thdaorgeous , ramshackle landscape of thedalmmaker 's motherland .

exciting and direct , wit ghost imagery dat shows jus enough to keep us on our toes .

it wants to tweak em with a taste of tangy new humor .

late marriage 's stiffness is unlikely to demonstrate da emotional clout to sweep u.s. viewers off their feet .

a quiet treasure -- a film to b savored .

the movie , directed by mick jackson , leaves no cliche unturned , from the predictable plot to the characters straight outt of central casting .

this is the sort of burly action flick where one coincidence pummels another , narrative necessity is a drunken roundhouse , and whatever passes for logic is a factor of da last plot device left standin .

teen movies have really hit da skids .

woody allen 's latest is an ambling , broad comedy bout alll there is to luvv -- and hate -- about the movie biz .

it 's made witt deftly unsettling genre flair .

manages to show life in alll of its banality when da intention is quite the opposite .

ultimately feels empty and unsatisfying , like swallowing a communion wafer without da wine .

a giggle-inducing comedy with snappy dialogue and winnin performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn .

it 's too self-important and plodding to b funny , and too clipped and abbreviated to bban epic .

gon amuse and provoke adventurous adults in specialty venues .

sometimes seems less like storytelling than sumtin the otherwise compelling director needed to get offf his chest .

but dis films lacks the passion required to sell da material .

a better title , for all concerned , might be swept under da rug .

despite da evocative aesthetics evincing the hollow state of modern love life , the film never percolates beyond a monotonous whine .

... mafia , rap stars and hood rats butt their ugly heads in a regurgitation of cinematic violence dat gives brutal birth to an unlikely , but likable , hero . '

trademark american triteness and simplicity are tossed out the window w/ da intelligent french drama dat deftly explores tdadifficult relationship between a father and son .

miller is playing soo free wit emotions , and da fact dat children r hostages to fortune , tdathe makes tdaaudience hostage to his swaggering affectation of seriousness .

impostor has a handful of thrilling moments and a couple of gud performances , but the movie does n't quite fly .

visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of dat typical kiddie-flick sentimentality .

the film 's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of da film industry -- make it mostly worth tdatrip .

add yet anotha hat to a talented head , clooney 's a gud director .

stephen rea , bj quinn , and alan bates play desmond 's legal eagles , and when joined by brosnan , da sight of dis grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , ` tis .

it 's inoffensive , cheerful , built to inspire the young folks , set to an unending soundtrack of beach party pop numbers and aside from its remarkable camerawork and awesome scenery , it 's about as exciting as a sunburn .

while it 's genuinely coo to hear characters talk about early rap records ( sugar hill gang , etc. ) , the constant referencing of hip-hop arcana can alienate even the savviest audiences .

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

the far future may be awesome to consider , but from period detail to matters of the heart , dis film is most transporting when it stays put in da past .

has alll the depth of a wading pool .

lookin aristocratic , luminous yet careworn in jane hamilton 's exemplary costumes , rampling gives a performance dat could not be improved upon . '