open sesame: google turn into sentiment model
apparently reassembled from the cutting-room floor of any given daytime soap .
they presume their audience wo n't sit still for a sociology lesson , however entertainingly presented , so they trot out the conventional science-fiction elements of bug-eyed monsters and futuristic women in skimpy clothes .
a fan film that for the uninitiated plays better on video with the sound turned down .
a little less extreme than in the past , with longer exposition sequences between them , and with fewer gags to break the tedium .
the film is strictly routine .
the most repugnant adaptation of a classic text since roland joffé and demi moore 's the scarlet letter .
for something as splendid-looking as this particular film , the viewer expects something special but instead gets -lrb- sci-fi -rrb- rehash .
if the tuxedo actually were a suit , it would fit chan like a $ 99 bargain-basement special .
final verdict : you 've seen it all before .
blue crush follows the formula , but throws in too many conflicts to keep the story compelling .
you ... get a sense of good intentions derailed by a failure to seek and strike just the right tone .
a wretched movie that reduces the second world war to one man 's quest to find an old flame .
will undoubtedly play well in european markets , where mr. besson is a brand name , and in asia , where ms. shu is an institution , but american audiences will probably find it familiar and insufficiently cathartic .
lacks the inspiration of the original and has a bloated plot that stretches the running time about 10 minutes past a child 's interest and an adult 's patience .
too bad .
gooding offers a desperately ingratiating performance .
a well-intentioned effort that 's still too burdened by the actor 's offbeat sensibilities for the earnest emotional core to emerge with any degree of accessibility .
lurid and less than lucid work .
with its parade of almost perpetually wasted characters ... margarita feels like a hazy high that takes too long to shake .
i could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay .
while american adobo has its heart -lrb- and its palate -rrb- in the right place , its brain is a little scattered -- ditsy , even .
and it 's a lousy one at that .
despite some comic sparks , welcome to collinwood never catches fire .
without shakespeare 's eloquent language , the update is dreary and sluggish .
... feels as if -lrb- there 's -rrb- a choke leash around your neck so director nick cassavetes can give it a good , hard yank whenever he wants you to feel something .
not once in the rush to save the day did i become very involved in the proceedings ; to me , it was just a matter of ` eh . '
an ugly-duckling tale so hideously and clumsily told it feels accidental .
becomes a bit of a mishmash : a tearjerker that does n't and a thriller that wo n't .
more successful at relating history than in creating an emotionally complex , dramatically satisfying heroine
it 's unfortunate that wallace , who wrote gibson 's braveheart as well as the recent pearl harbor , has such an irrepressible passion for sappy situations and dialogue .
jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .
... a fascinating curiosity piece -- fascinating , that is , for about ten minutes .
over and over again .
this bond film goes off the beaten path , not necessarily for the better .
... its solemn pretension prevents us from sharing the awe in which it holds itself .
the drama discloses almost nothing .
a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis .
this pathetic junk is barely an hour long .
the trappings of i spy are so familiar you might as well be watching a rerun .
an inexperienced director , mehta has much to learn .
you can taste it , but there 's no fizz .
a reworking of die hard and cliffhanger but it 's nowhere near as exciting as either .
and that is where ararat went astray .
clockstoppers is one of those crazy , mixed-up films that does n't know what it wants to be when it grows up .
sandra bullock , despite downplaying her good looks , carries a little too much ai n't - she-cute baggage into her lead role as a troubled and determined homicide cop to quite pull off the heavy stuff .
a kilted jackson is an unsettling sight , and indicative of his , if you will , out-of-kilter character , who rambles aimlessly through ill-conceived action pieces .
i did n't find much fascination in the swinging .
this is no `` waterboy ! ''
the irwins ' scenes are fascinating ; the movie as a whole is cheap junk and an insult to their death-defying efforts .
it 's a frightful vanity film that , no doubt , pays off what debt miramax felt they owed to benigni .
he seems to want both , but succeeds in making neither .
i 've never seen -lrb- a remake -rrb- do anything as stomach-turning as the way adam sandler 's new movie rapes , pillages and incinerates frank capra 's classic ...
the movie is a negligible work of manipulation , an exploitation piece doing its usual worst to guilt-trip parents .
suffers from a flat script and a low budget .
the movie is well done , but slow .
the master of disguise is awful .
the direction occasionally rises to the level of marginal competence , but for most of the film it is hard to tell who is chasing who or why .
the three leads produce adequate performances , but what 's missing from this material is any depth of feeling .
`` looking for leonard '' just seems to kinda sit in neutral , hoping for a stiff wind to blow it uphill or something .
the most surprising thing about this film is that they are actually releasing it into theaters .
... one resurrection too many .
no , i hate it .
the film is like sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables .
contrived pastiche of caper clichés .
if you 're over 25 , have an iq over 90 , and have a driver 's license , you should be able to find better entertainment .
scherfig , who has had a successful career in tv , tackles more than she can handle .
this sade is hardly a perverse , dangerous libertine and agitator -- which would have made for better drama .
... a plotline that 's as lumpy as two-day old porridge ... the filmmakers ' paws , sad to say , were all over this `` un-bear-able '' project !
the modern-day royals have nothing on these guys when it comes to scandals .
essentially `` fatal attraction '' remade for viewers who were in diapers when the original was released in 1987 .
it does n't really know or care about the characters , and uses them as markers for a series of preordained events .
` opening up ' the play more has partly closed it down .
lots of effort and intelligence are on display but in execution it is all awkward , static , and lifeless rumblings .
coal is n't as easy to come by as it used to be and this would be a worthy substitute for naughty children 's stockings .
as pedestrian as they come .
why , you may ask , why should you buy the movie milk when the tv cow is free ?
sunk by way too much indulgence of scene-chewing , teeth-gnashing actorliness .
the modern-day characters are nowhere near as vivid as the 19th-century ones .
chelsea walls is a case of too many chefs fussing over too weak a recipe .
-lrb- the kid 's -rrb- just too bratty for sympathy , and as the film grows to its finale , his little changes ring hollow .
the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .
every now and again , a movie comes along to remind us of how very bad a motion picture can truly be .
unfortunately , there is almost nothing in this flat effort that will amuse or entertain them , either .
there 's not one decent performance from the cast and not one clever line of dialogue .
translation : ` we do n't need to try very hard . '
it sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations .
oversexed , at times overwrought comedy\/drama that offers little insight into the experience of being forty , female and single .
the director seems to take an unseemly pleasure in -lrb- the characters ' -rrb- misery and at the same time to congratulate himself for having the guts to confront it .
i also believe that resident evil is not it .
... may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence .
death to smoochy tells a moldy-oldie , not-nearly - as-nasty - as-it - thinks-it-is joke .
hart 's war seems to want to be a character study , but apparently ca n't quite decide which character .
offers no new insight on the matter , nor do its characters exactly spring to life .
i 'm convinced i could keep a family of five blind , crippled , amish people alive in this situation better than these british soldiers do at keeping themselves kicking .
the connected stories of breitbart and hanussen are actually fascinating , but the filmmaking in invincible is such that the movie does not do them justice .
with a completely predictable plot , you 'll swear that you 've seen it all before , even if you 've never come within a mile of the longest yard .
the jokes are sophomoric , stereotypes are sprinkled everywhere and the acting ranges from bad to bodacious .
sayles ... once again strands his superb performers in the same old story .
high crimes carries almost no organic intrigue as a government \/ marine\/legal mystery , and that 's because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue .
shatner is probably the funniest person in the film , which gives you an idea just how bad it was .
this is a fragmented film , once a good idea that was followed by the bad idea to turn it into a movie .
there 's some outrageously creative action in the transporter ... -lrb- b -rrb- ut by the time frank parachutes down onto a moving truck , it 's just another cartoon with an unstoppable superman .
if the last man were the last movie left on earth , there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows .
it 's simply stupid , irrelevant and deeply , truly , bottomlessly cynical .
the movie is almost completely lacking in suspense , surprise and consistent emotional conviction .
the characters are so generic and the plot so bland that even as rogue cia assassins working for chris cooper 's agency boss close in on the resourceful amnesiac , we do n't feel much for damon\/bourne or his predicament .
like a can of 2-day old coke .
yes , i suppose it 's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life -- but world traveler gave me no reason to care , so i did n't .
that the film opens with maggots crawling on a dead dog is not an out of place metaphor .
it 's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding .
nothing about this movie works .
a hit - and-miss affair , consistently amusing but not as outrageous or funny as cho may have intended or as imaginative as one might have hoped .
hey everybody , wanna watch a movie in which a guy dressed as a children 's party clown gets violently gang-raped ?
never comes together as a coherent whole .
a decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies .
like most of jaglom 's films , some of it is honestly affecting , but more of it seems contrived and secondhand .
not only are the film 's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this ` we 're - doing-it-for - the-cash ' sequel were .
i have to admit that i am baffled by jason x.
a rip-off twice removed , modeled after -lrb- seagal 's -rrb- earlier copycat under siege , sometimes referred to as die hard on a boat .
that 's muy loco , but no more ridiculous than most of the rest of `` dragonfly . ''
but the movie that does n't really deliver for country music fans or for family audiences
no french people were harmed during the making of this movie , but they were insulted and the audience was put through torture for an hour and a half .
the plot has a number of holes , and at times it 's simply baffling .
the redeeming feature of chan 's films has always been the action , but the stunts in the tuxedo seem tired and , what 's worse , routine .
amazingly lame .
not even felinni would know what to make of this italian freakshow .
parker can not sustain the buoyant energy level of the film 's city beginnings into its country conclusion '
a cockeyed shot all the way .
clare peploe 's airless movie adaptation could use a little american pie-like irreverence .
a woefully dull , redundant concept that bears more than a whiff of exploitation , despite iwai 's vaunted empathy .
about one in three gags in white 's intermittently wise script hits its mark ; the rest are padding unashamedly appropriated from the teen-exploitation playbook .
it plods along methodically , somehow under the assumption that its `` dead wife communicating from beyond the grave '' framework is even remotely new or interesting .
enough said , except : film overboard !
a collage of clichés and a dim echo of allusions to other films .
if damon and affleck attempt another project greenlight , next time out they might try paying less attention to the miniseries and more attention to the film it is about .
the screenplay by james eric , james horton and director peter o'fallon ... is so pat it makes your teeth hurt .
i 'm giving it thumbs down due to the endlessly repetitive scenes of embarrassment .
not only does leblanc make one spectacularly ugly-looking broad , but he appears miserable throughout as he swaggers through his scenes .
... a weak and ineffective ghost story without a conclusion or pay off .
the film never finds its tone and several scenes run too long .
suffers from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer demands .
it 's not a motion picture ; it 's an utterly static picture .
it 's probably not easy to make such a worthless film ...
a cautionary tale about the folly of superficiality that is itself endlessly superficial .
quitting , however , manages just to be depressing , as the lead actor phones in his autobiographical performance .
i did go back and check out the last 10 minutes , but these were more repulsive than the first 30 or 40 minutes .
in the end , the movie bogs down in insignificance , saying nothing about kennedy 's assassination and revealing nothing about the pathology it pretends to investigate .
if disney 's cinderella proved that ' a dream is a wish your heart makes , ' then cinderella ii proves that a nightmare is a wish a studio 's wallet makes .
been there , done that ... a thousand times already , and better .
an infuriating film .
seagal ran out of movies years ago , and this is just the proof .
a backhanded ode to female camaraderie penned by a man who has little clue about either the nature of women or of friendship .
the fetid underbelly of fame has never looked uglier .
soulless and -- even more damning -- virtually joyless , xxx achieves near virtuosity in its crapulence .
a party-hearty teen flick that scalds like acid .
while the story is better-focused than the incomprehensible anne rice novel it 's based upon , queen of the damned is a pointless , meandering celebration of the goth-vampire , tortured woe-is-me lifestyle .
like mike is a slight and uninventive movie : like the exalted michael jordan referred to in the title , many can aspire but none can equal .
a few hours after you 've seen it , you forget you 've been to the movies .
yet it 's not quite the genre-busting film it 's been hyped to be because it plays everything too safe .
the biggest problem with roger avary 's uproar against the mpaa is that , even in all its director 's cut glory , he 's made a film that 's barely shocking , barely interesting and most of all , barely anything .
the end result is like cold porridge with only the odd enjoyably chewy lump .
it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there 's a little girl-on-girl action .
that such a horrible movie could have sprung from such a great one is one of the year 's worst cinematic tragedies .
lame sweet home leaves no southern stereotype unturned .
rice is too pedestrian a filmmaker to bring any edge or personality to the rising place that would set it apart from other deep south stories .
it 's always disappointing when a documentary fails to live up to -- or offer any new insight into -- its chosen topic .
yet another iteration of what 's become one of the movies ' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally `` superior '' friends , family ...
you may be galled that you 've wasted nearly two hours of your own precious life with this silly little puddle of a movie .
more intellectually scary than dramatically involving .
the movie is like a year late for tapping into our reality tv obsession , and even tardier for exploiting the novelty of the `` webcast . ''
when the casting call for this movie went out , it must have read ` seeking anyone with acting ambition but no sense of pride or shame . '
the movie is a desperate miscalculation .
what they 're doing is a matter of plumbing arrangements and mind games , of no erotic or sensuous charge .
plays like a glossy melodrama that occasionally verges on camp .
what ultimately makes windtalkers a disappointment is the superficial way it deals with its story .
the main story ... is compelling enough , but it 's difficult to shrug off the annoyance of that chatty fish .
an admitted egomaniac , evans is no hollywood villain , and yet this grating showcase almost makes you wish he 'd gone the way of don simpson .
the inherent limitations of using a video game as the source material movie are once again made all too clear in this schlocky horror\/action hybrid .
` moore is like a progressive bull in a china shop , a provocateur crashing into ideas and special-interest groups as he slaps together his own brand of liberalism . '
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 . ''
a slow-moving police-procedural thriller that takes its title all too literally .
since dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer , it misses a major opportunity to be truly revelatory about his psyche .
the master of disguise represents adam sandler 's latest attempt to dumb down the universe .
i ca n't say this enough : this movie is about an adult male dressed in pink jammies .
-lrb- a -rrb- boldly stroked , luridly coloured , uni-dimensional nonsense machine that strokes the eyeballs while it evaporates like so much crypt mist in the brain .
once one experiences mr. haneke 's own sadistic tendencies toward his audience , one is left with a sour taste in one 's mouth , and little else .
for this sort of thing to work , we need agile performers , but the proficient , dull sorvino has no light touch , and rodan is out of his league .
most of the storylines feel like time fillers between surf shots .
the screenwriters dig themselves in deeper every time they toss logic and science into what is essentially a `` dungeons and dragons '' fantasy with modern military weaponry ...
what might have been acceptable on the printed page of iles ' book does not translate well to the screen .
ice cube is n't quite out of ripe screwball ideas , but friday after next spreads them pretty thin .
director david fincher and writer david koepp ca n't sustain it .
mckay shows crushingly little curiosity about , or is ill-equipped to examine , the interior lives of the characters in his film , much less incorporate them into his narrative .
it gets the details of its time frame right but it completely misses its emotions .
what we have is a character faced with the possibility that her life is meaningless , vapid and devoid of substance , in a movie that is definitely meaningless , vapid and devoid of substance .
for all of its insights into the dream world of teen life , and its electronic expression through cyber culture , the film gives no quarter to anyone seeking to pull a cohesive story out of its 2 1\/2 - hour running time .
with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout ... by which time it 's impossible to care who wins .
tv skit-com material fervently deposited on the big screen .
cold , sterile and lacking any color or warmth .
a ` girls gone wild ' video for the boho art-house crowd , the burning sensation is n't a definitive counter-cultural document -- its makers are n't removed and inquisitive enough for that .
... the movie feels stitched together from stock situations and characters from other movies .
men in black ii achieves ultimate insignificance -- it 's the sci-fi comedy spectacle as whiffle-ball epic .
there 's nothing to gain from watching they .
debut effort by `` project greenlight '' winner is sappy and amateurish .
an absurdist spider web .
rather less than the sum of its underventilated père-fils confrontations .
stay away .
contrasting the original ringu with the current americanized adaptation is akin to comparing the evil dead with evil dead ii
skip this dreck , rent animal house and go back to the source .
the movie , like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes .
should n't have been allowed to use the word `` new '' in its title , because there 's not an original character , siuation or joke in the entire movie .
decent but dull .
get out your pooper-scoopers .
humor in i spy is so anemic .
there 's not a fresh idea at the core of this tale .
this is a movie where the most notable observation is how long you 've been sitting still .
technically and artistically inept .
... overly melodramatic ...
trouble every day is a success in some sense , but it 's hard to like a film so cold and dead .
... stumbles over every cheap trick in the book trying to make the outrage come even easier .
in all the annals of the movies , few films have been this odd , inexplicable and unpleasant .
highly uneven and inconsistent ... margarita happy hour kinda resembles the el cheapo margaritas served within .
the effort is sincere and the results are honest , but the film is so bleak that it 's hardly watchable .
the scriptwriters are no less a menace to society than the film 's characters .
even as the hero of the story rediscovers his passion in life , the mood remains oddly detached .
a cheap scam put together by some cynical creeps at revolution studios and imagine entertainment to make the suckers out there surrender $ 9 and 93 minutes of unrecoverable life .
not once does it come close to being exciting .
it 's a hellish , numbing experience to watch , and it does n't offer any insights that have n't been thoroughly debated in the media already , back in the dahmer heyday of the mid - '90s .
the film is hampered by its predictable plot and paper-thin supporting characters .
a noble failure .
there 's not a comedic moment in this romantic comedy .
any rock pile will do for a set .
marinated in clichés and mawkish dialogue .
this movie , a certain scene in particular , brought me uncomfortably close to losing my lunch .
in the end , the film feels homogenized and a bit contrived , as if we 're looking back at a tattered and ugly past with rose-tinted glasses .
unless you come in to the film with a skateboard under your arm , you 're going to feel like you were n't invited to the party .
a rumor of angels does n't just slip -- it avalanches into forced fuzziness .
what 's needed so badly but what is virtually absent here is either a saving dark humor or the feel of poetic tragedy .
stone seems to have a knack for wrapping the theater in a cold blanket of urban desperation .
while it 's all quite tasteful to look at , the attention process tends to do a little fleeing of its own .
narc is all menace and atmosphere .
there is simply not enough of interest onscreen to sustain its seventy-minute running time .
-lrb- stevens is -rrb- so stoked to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits .
kurys seems intimidated by both her subject matter and the period trappings of this debut venture into the heritage business .
it dabbles all around , never gaining much momentum .
being unique does n't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke .
when -lrb- reno -rrb- lets her radical flag fly , taking angry potshots at george w. bush , henry kissinger , larry king , et al. , reno devolves into a laugh-free lecture .
never capitalizes on this concept and opts for the breezy and amateurish feel of an after school special on the subject of tolerance .
despite its visual virtuosity , ` naqoyqatsi ' is banal in its message and the choice of material to convey it .
collateral damage is trash , but it earns extra points by acting as if it were n't .
the one not-so-small problem with expecting is that the entire exercise has no real point .
the problem with all of this : it 's not really funny .
one hour photo may seem disappointing in its generalities , but it 's the little nuances that perhaps had to escape from director mark romanek 's self-conscious scrutiny to happen , that finally get under your skin .
it 's impossible to indulge the fanciful daydreams of janice beard -lrb- eileen walsh -rrb- when her real-life persona is so charmless and vacant .
with tiny little jokes and nary an original idea , this sappy ethnic sleeper proves that not only blockbusters pollute the summer movie pool .
confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation is the last thing any of these three actresses , nor their characters , deserve .
this franchise has not spawned a single good film .
ear-splitting exercise in formula crash-and-bash action .
just about everyone involved here seems to be coasting .
claims to sort the bad guys from the good , which is its essential problem .
woo has as much right to make a huge action sequence as any director , but how long will filmmakers copy the `` saving private ryan '' battle scenes before realizing steven spielberg got it right the first time ?
although it starts off so bad that you feel like running out screaming , it eventually works its way up to merely bad rather than painfully awful .
makes 98 minutes feel like three hours .
the entire point of a shaggy dog story , of course , is that it goes nowhere , and this is classic nowheresville in every sense .
shame on writer\/director vicente aranda for making a florid biopic about mad queens , obsessive relationships , and rampant adultery so dull .
like the hanks character , he 's a slow study : the action is stilted and the tabloid energy embalmed .
paul bettany is good at being the ultra-violent gangster wannabe , but the movie is certainly not number 1 .
the verdict : two bodies and hardly a laugh between them .
taken outside the context of the current political climate -lrb- see : terrorists are more evil than ever ! -rrb-
a little weak -- and it is n't that funny .
writer-director ritchie reduces wertmuller 's social mores and politics to tiresome jargon .
an almost unbearably morbid love story .
a mean-spirited film made by someone who surely read the catcher in the rye but clearly suffers from dyslexia
if they broke out into elaborate choreography , singing and finger snapping it might have held my attention , but as it stands i kept looking for the last exit from brooklyn .
impostor is a step down for director gary fleder .
may puzzle his most ardent fans .
in other words , it 's badder than bad .
after all , he took three minutes of dialogue , 30 seconds of plot and turned them into a 90-minute movie that feels five hours long .
the master of disguise falls under the category of ` should have been a sketch on saturday night live . '
shows holmes has the screen presence to become a major-league leading lady , -lrb- but -rrb- the movie itself is an underachiever , a psychological mystery that takes its sweet time building to a climax that 's scarcely a surprise by the time it arrives .
but it was n't .
in old-fashioned screenwriting parlance , ms. shreve 's novel proved too difficult a text to ` lick , ' despite the efforts of a first-rate cast .
a tired , predictable , bordering on offensive , waste of time , money and celluloid .
there 's no disguising this as one of the worst films of the summer .
frida is n't that much different from many a hollywood romance .
follows the original film virtually scene for scene and yet manages to bleed it almost completely dry of humor , verve and fun .
a lame comedy .
when ` science fiction ' takes advantage of the fact that its intended audience has n't yet had much science , it does a disservice to the audience and to the genre .
illiterate , often inert sci-fi action thriller .
overwrought , melodramatic bodice-ripper .
bad movie .
just when you think you are making sense of it , something happens that tells you there is no sense .
the film rehashes several old themes and is capped with pointless extremes -- it 's insanely violent and very graphic .
an undistinguished attempt to make a classic theater piece cinematic .
it 's pauly shore awful .
a sour attempt at making a farrelly brothers-style , down-and-dirty laugher for the female set .
what could have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination .
an inept , tedious spoof of '70s kung fu pictures , it contains almost enough chuckles for a three-minute sketch , and no more .
how can such a cold movie claim to express warmth and longing ?
the film did n't convince me that calvin jr. 's barbershop represents some sort of beacon of hope in the middle of chicago 's south side .
her film is like a beautiful food entrée that is n't heated properly , so that it ends up a bit cold and relatively flavorless .
the most excruciating 86 minutes one might sit through this summer that do not involve a dentist drill .
though clearly well-intentioned , this cross-cultural soap opera is painfully formulaic and stilted .
a sugar-coated rocky whose valuable messages are forgotten 10 minutes after the last trombone honks .
what begins brightly gets bogged down over 140 minutes .
a painfully slow cliche-ridden film filled with more holes than clyde barrow 's car .
to be influenced chiefly by humanity 's greatest shame , reality shows -- reality shows for god 's sake !
take away the controversy , and it 's not much more watchable than a mexican soap opera .
the audacity to view one of shakespeare 's better known tragedies as a dark comedy is , by itself , deserving of discussion .
you expect more from director michael apted -lrb- enigma -rrb- and screenwriter nicholas kazan -lrb- reversal of fortune -rrb- than this cliche pileup .
director jay russell weighs down his capricious fairy-tale with heavy sentiment and lightweight meaning .
a good-natured ensemble comedy that tries hard to make the most of a bumper cast , but never quite gets off the ground .
everything is off .
pretend like your sat scores are below 120 and you might not notice the flaws .
i ca n't remember the last time i saw worse stunt editing or cheaper action movie production values than in extreme ops .
it 's tommy 's job to clean the peep booths surrounding her , and after viewing this one , you 'll feel like mopping up , too .
there 's ... an underlying old world sexism to monday morning that undercuts its charm .
what a great shame that such a talented director as chen kaige has chosen to make his english-language debut with a film so poorly plotted and scripted .
some of the computer animation is handsome , and various amusing sidekicks add much-needed levity to the otherwise bleak tale , but overall the film never rises above mediocrity .
despite its promising cast of characters , big trouble remains a loosely tied series of vignettes which only prove that ` zany ' does n't necessarily mean ` funny . '
... begins with promise , but runs aground after being snared in its own tangled plot .
a dull , inconsistent , dishonest female bonding picture .
by no means a slam-dunk and sure to ultimately disappoint the action fans who will be moved to the edge of their seats by the dynamic first act , it still comes off as a touching , transcendent love story .
what goes on for the 110 minutes of `` panic room '' is a battle of witlessness between a not-so-bright mother and daughter and an even less capable trio of criminals .
in comparison to his earlier films it seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little .
the script was reportedly rewritten a dozen times -- either 11 times too many or else too few .
the master of disguise may have made a great saturday night live sketch , but a great movie it is not .
if we 're to slap protagonist genevieve leplouff because she 's french , do we have that same option to slap her creators because they 're clueless and inept ?
i 've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama .
i 've seen some bad singer-turned actors , but lil bow wow takes the cake .
was that movie nothing more than a tepid exercise in trotting out a formula that worked five years ago but has since lost its fizz ?
a cellophane-pop remake of the punk classic ladies and gentlemen , the fabulous stains ... crossroads is never much worse than bland or better than inconsequential .
if nothing else , `` rollerball '' 2002 may go down in cinema history as the only movie ever in which the rest of the cast was outshined by ll cool j.
nemesis suffers from a paunchy midsection , several plodding action sequences and a wickedly undramatic central theme .
-lrb- t -rrb- he film is never sure to make a clear point -- even if it seeks to rely on an ambiguous presentation .
this movie is about the worst thing chan has done in the united states .
the ya-ya 's have many secrets and one is - the books are better .
the plot 's contrivances are uncomfortably strained .
we 've liked klein 's other work but rollerball left us cold .
a markedly inactive film , city is conversational bordering on confessional .
to be oblivious to the existence of this film would be very sweet indeed .
empire ca n't make up its mind whether it wants to be a gangster flick or an art film .
the result is so tame that even slightly wised-up kids would quickly change the channel .
storytelling feels slight .
we get the comedy we settle for .
eerily accurate depiction of depression .
schrader aims to present an unflinching look at one man 's downfall , brought about by his lack of self-awareness .
feels like the work of someone who may indeed have finally aged past his prime ... and , perhaps more than he realizes , just wants to be liked by the people who can still give him work .
... a bland murder-on-campus yawner .
feels more like a rejected x-files episode than a credible account of a puzzling real-life happening .
the story has its redundancies , and the young actors , not very experienced , are sometimes inexpressive .
even murphy 's expert comic timing and famed charisma ca n't rescue this effort .
if hill is n't quite his generation 's don siegel -lrb- or robert aldrich -rrb- , it 's because there 's no discernible feeling beneath the chest hair ; it 's all bluster and cliché .
and neither do cliches , no matter how ` inside ' they are .
strictly a ` guy 's film ' in the worst sense of the expression .
a lightweight , uneven action comedy that freely mingles french , japanese and hollywood cultures .
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 .
`` abandon '' will leave you wanting to abandon the theater .
the movie fails to portray its literarily talented and notorious subject as anything much more than a dirty old man .
the holiday message of the 37-minute santa vs. the snowman leaves a lot to be desired .
a vile , incoherent mess ... a scummy ripoff of david cronenberg 's brilliant ` videodrome . '
what 's most offensive is n't the waste of a good cast , but the film 's denial of sincere grief and mourning in favor of bogus spiritualism .
like a medium-grade network sitcom -- mostly inoffensive , fitfully amusing , but ultimately so weightless that a decent draft in the auditorium might blow it off the screen .
just about all of the film is confusing on one level or another , making ararat far more demanding than it needs to be .
collapses after 30 minutes into a slap-happy series of adolescent violence .
a surprisingly flat retread , hobbled by half-baked setups and sluggish pacing .
the film does n't show enough of the creative process or even of what was created for the non-fan to figure out what makes wilco a big deal .
sometimes there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely .
an instantly forgettable snow-and-stuntwork extravaganza that likely will be upstaged by an avalanche of more appealing holiday-season product .
with a `` spy kids '' sequel opening next week , why bother with a contemptible imitator starring a `` snl '' has-been acting like an 8-year-old channeling roberto benigni ?
muddled , melodramatic paranormal romance is an all-time low for kevin costner .
but even then , i 'd recommend waiting for dvd and just skipping straight to her scenes .
this new zealand coming-of-age movie is n't really about anything .
we hate -lrb- madonna -rrb- within the film 's first five minutes , and she lacks the skill or presence to regain any ground .
it 's tough to tell which is in more abundant supply in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo .
the story is also as unoriginal as they come , already having been recycled more times than i 'd care to count .
in one scene , we get a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino 's climactic shootout -- and meat loaf explodes .
is the kind of movie that 's critic-proof , simply because it aims so low .
to the civilized mind , a movie like ballistic : ecks vs. sever is more of an ordeal than an amusement .
my precious new star wars movie is a lumbering , wheezy drag ...
a dull , simple-minded and stereotypical tale of drugs , death and mind-numbing indifference on the inner-city streets .
throw smoochy from the train !
an alternately raucous and sappy ethnic sitcom ... you 'd be wise to send your regrets .
none of this is half as moving as the filmmakers seem to think .
the heedless impetuousness of youth is on full , irritating display in -lrb- this -rrb- meandering and pointless french coming-of-age import from writer-director anne-sophie birot .
a low-budget affair , tadpole was shot on digital video , and the images often look smeary and blurry , to the point of distraction .
the story 's pathetic and the gags are puerile . .
showtime is n't particularly assaultive , but it can still make you feel that you never want to see another car chase , explosion or gunfight again .
by the final whistle you 're convinced that this mean machine was a decent tv outing that just does n't have big screen magic .
first , for a movie that tries to be smart , it 's kinda dumb .
and people make fun of me for liking showgirls .
... the story simply putters along looking for astute observations and coming up blank .
whether it 's the worst movie of 2002 , i ca n't say for sure : memories of rollerball have faded , and i skipped country bears .
dogtown is hollow , self-indulgent , and - worst of all - boring .
the sweetest thing leaves a bitter taste .
one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch .
lawrence should stick to his day job .
by turns numbingly dull-witted and disquietingly creepy .
maid in manhattan proves that it 's easier to change the sheets than to change hackneyed concepts when it comes to dreaming up romantic comedies .
a cleverly crafted but ultimately hollow mockumentary .
the misery of these people becomes just another voyeuristic spectacle , to be consumed and forgotten .
even if you 're an elvis person , you wo n't find anything to get excited about on this dvd .
i am more offended by his lack of faith in his audience than by anything on display here .
the darker elements of misogyny and unprovoked violence suffocate the illumination created by the two daughters and the sparse instances of humor meant to shine through the gloomy film noir veil .
it 's not a great monster movie .
it 's so downbeat and nearly humorless that it becomes a chore to sit through -- despite some first-rate performances by its lead .
if the title is a jeopardy question , then the answer might be `` how does steven seagal come across these days ? ''
the whole thing comes off like a particularly amateurish episode of bewitched that takes place during spring break .
it 's hard to believe that something so short could be so flabby .
solondz may well be the only one laughing at his own joke
swinging , the film makes it seem , is not a hobby that attracts the young and fit .
there 's a reason why halftime is only fifteen minutes long .
behind the glitz , hollywood is sordid and disgusting .
this mild-mannered farce , directed by one of its writers , john c. walsh , is corny in a way that bespeaks an expiration date passed a long time ago .
with very little to add beyond the dark visions already relayed by superb recent predecessors like swimming with sharks and the player , this latest skewering ... may put off insiders and outsiders alike .
with the exception of mccoist , the players do n't have a clue on the park .
no amount of good acting is enough to save oleander 's uninspired story .
everyone 's to blame here .
an odd , haphazard , and inconsequential romantic comedy .
... another example of how sandler is losing his touch .
an awful lot like one of -lrb- spears ' -rrb- music videos in content -- except that it goes on for at least 90 more minutes and , worse , that you have to pay if you want to see it .
stale and clichéd to a fault .
... built on the premise that middle-class arkansas consists of monster truck-loving good ol' boys and peroxide blond honeys whose worldly knowledge comes from tv reruns and supermarket tabloids .
zellweger 's whiny pouty-lipped poof faced and spindly attempt at playing an ingenue makes her nomination as best actress even more of a an a
i still want my money back .
no one involved , save dash , shows the slightest aptitude for acting , and the script , credited to director abdul malik abbott and ernest ` tron ' anderson , seems entirely improvised .
narratively , trouble every day is a plodding mess .
the cumulative effect of watching this 65-minute trifle is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge .
start reading your scripts before signing that dotted line .
a pathetically inane and unimaginative cross between xxx and vertical limit .
` punch-drunk love is so convinced of its own brilliance that , if it were a person , you 'd want to smash its face in . '
a sentimental mess that never rings true .
-lrb- janey -rrb- forgets about her other obligations , leading to a tragedy which is somehow guessable from the first few minutes , maybe because it echoes the by now intolerable morbidity of so many recent movies .
the only problem is that , by the end , no one in the audience or the film seems to really care .
a film without surprise geared toward maximum comfort and familiarity .
... although this idea is `` new '' the results are tired .
this may be the first cartoon ever to look as if it were being shown on the projection television screen of a sports bar .
the trouble is , its filmmakers run out of clever ideas and visual gags about halfway through .
even when crush departs from the 4w formula ... it feels like a glossy rehash .
it 's that painful .
if ever such a dependable concept was botched in execution , this is it .
his -lrb- nelson 's -rrb- screenplay needs some serious re-working to show more of the dilemma , rather than have his characters stage shouting matches about it .
terminally brain dead production .
the movie suffers from two fatal ailments -- a dearth of vitality and a story that 's shapeless and uninflected .
bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly .
one senses in world traveler and in his earlier film that freundlich bears a grievous but obscure complaint against fathers , and circles it obsessively , without making contact .
well-meant but unoriginal .
the quiet american is n't a bad film , it 's just one that could easily wait for your pay per view dollar .
kapur weighs down the tale with bogus profundities .
an ugly , revolting movie .
the characterizations and dialogue lack depth or complexity , with the ironic exception of scooter .
but it 's hardly a necessary enterprise .
distinctly sub-par ... more likely to drown a viewer in boredom than to send any shivers down his spine .
it 's a shame that the storyline and its underlying themes ... finally seem so impersonal or even shallow .
as it stands , crocodile hunter has the hurried , badly cobbled look of the 1959 godzilla , which combined scenes of a japanese monster flick with canned shots of raymond burr commenting on the monster 's path of destruction .
i liked the original short story but this movie , even at an hour and twenty-some minutes , it 's too long and it goes nowhere .
it 's the kind of under-inspired , overblown enterprise that gives hollywood sequels a bad name .
the movie starts with a legend and ends with a story that is so far-fetched it would be impossible to believe if it were n't true .
really does feel like a short stretched out to feature length .
the movie is so contrived , nonsensical and formulaic that , come to think of it , the day-old shelf would be a more appropriate location to store it .
eventually , they will have a showdown , but , by then , your senses are as mushy as peas and you do n't care who fires the winning shot .
godard 's ode to tackling life 's wonderment is a rambling and incoherent manifesto about the vagueness of topical excess ... in praise of love remains a ponderous and pretentious endeavor that 's unfocused and tediously exasperating .
hampered -- no , paralyzed -- by a self-indulgent script ... that aims for poetry and ends up sounding like satire .
although sensitive to a fault , it 's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken .
several uninteresting , unlikeable people do bad things to and with each other in `` unfaithful . ''
... a low rate annie featuring some kid who ca n't act , only echoes of jordan , and weirdo actor crispin glover screwing things up old school .
surprisingly , considering that baird is a former film editor , the movie is rather choppy .
... it was n't the subject matter that ultimately defeated the film ... it was the unfulfilling , incongruous , `` wait a second , did i miss something ? ''
full frontal , which opens today nationwide , could almost be classified as a movie-industry satire , but it lacks the generous inclusiveness that is the genre 's definitive , if disingenuous , feature .
ultimately ... the movie is too heady for children , and too preachy for adults .
could n't someone take rob schneider and have him switch bodies with a funny person ?
in the wrong hands , i.e. peploe 's , it 's simply unbearable
like an afterschool special with costumes by gianni versace , mad love looks better than it feels .
it has no affect on the kurds , but it wore me down .
instead of letting the laughs come as they may , lawrence unleashes his trademark misogyny -- er , comedy -- like a human volcano or an overflowing septic tank , take your pick .
this tuxedo ... should have been sent back to the tailor for some major alterations .
ever see one of those comedies that just seem like a bad idea from frame one ?
downright transparent is the script 's endless assault of embarrassingly ham-fisted sex jokes that reek of a script rewrite designed to garner the film a `` cooler '' pg-13 rating .
the performances are so overstated , the effect comes off as self-parody .
in terms of execution this movie is careless and unfocused .
the whole movie is simply a lazy exercise in bad filmmaking that asks you to not only suspend your disbelief but your intelligence as well .
i have not been this disappointed by a movie in a long time .
unfortunately , one hour photo lives down to its title .
for a guy who has waited three years with breathless anticipation for a new hal hartley movie to pore over , no such thing is a big letdown .
the most memorable moment was when green threw medical equipment at a window ; not because it was particularly funny , but because i had a serious urge to grab the old lady at the end of my aisle 's walker and toss it at the screen in frustration .
the premise of `` abandon '' holds promise , ... but its delivery is a complete mess .
call me a cynic , but there 's something awfully deadly about any movie with a life-affirming message .
we started to wonder if ... some unpaid intern had just typed ` chris rock , ' ` anthony hopkins ' and ` terrorists ' into some univac-like script machine .
it 's hard to imagine that even very small children will be impressed by this tired retread .
the problem with movies about angels is they have a tendency to slip into hokum .
lazy filmmaking , with the director taking a hands-off approach when he should have shaped the story to show us why it 's compelling .
as with so many merchandised-to-the-max movies of this type , more time appears to have gone into recruiting the right bands for the playlist and the costuming of the stars than into the script , which has a handful of smart jokes and not much else .
press the delete key .
a grating , emaciated flick .
it 's plotless , shapeless -- and yet , it must be admitted , not entirely humorless .
with a tone as variable as the cinematography , schaeffer 's film never settles into the light-footed enchantment the material needs , and the characters ' quirks and foibles never jell into charm .
a very slow , uneventful ride around a pretty tattered old carousel .
mib ii is a movie that makes it possible for the viewer to doze off for a few minutes or make several runs to the concession stand and\/or restroom and not feel as if he or she has missed anything .
too bad kramer could n't make a guest appearance to liven things up .
the modern remake of dumas 's story is long on narrative and -lrb- too -rrb- short on action .
seagal is painfully foolish in trying to hold onto what 's left of his passe ' chopsocky glory .
there 's not a spark of new inspiration in it , just more of the same , done with noticeably less energy and imagination .
hoffman waits too long to turn his movie in an unexpected direction , and even then his tone retains a genteel , prep-school quality that feels dusty and leatherbound .
the lack of naturalness makes everything seem self-consciously poetic and forced ... it 's a pity that -lrb- nelson 's -rrb- achievement does n't match his ambition .
the movie is so resolutely cobbled together out of older movies that it even uses a totally unnecessary prologue , just because it seems obligatory .
this thing works on no level whatsoever for me .
a selection of scenes in search of a movie .
we do get the distinct impression that this franchise is drawing to a close .
an unholy mess , driven by the pathetic idea that if you shoot something on crummy-looking videotape , it must be labelled ` hip ' , ` innovative ' and ` realistic ' .
in the end , the weight of water comes to resemble the kind of soft-core twaddle you 'd expect to see on showtime 's ` red shoe diaries . '
it 's replaced by some dramatic scenes that are jarring and deeply out of place in what could have -lrb- and probably should have -rrb- been a lighthearted comedy .
... watching it was painful .
wait to see it then .
unless there are zoning ordinances to protect your community from the dullest science fiction , impostor is opening today at a theater near you .
it 's supposed to be a romantic comedy - it suffers from too much norma rae and not enough pretty woman .
tries to work in the same vein as the brilliance of animal house but instead comes closer to the failure of the third revenge of the nerds sequel .
disney again ransacks its archives for a quick-buck sequel .
payami tries to raise some serious issues about iran 's electoral process , but the result is a film that 's about as subtle as a party political broadcast .
one of the most incoherent features in recent memory .
the problem with the mayhem in formula 51 is not that it 's offensive , but that it 's boring .
the rest of the film ... is dudsville .
director uwe boll and writer robert dean klein fail to generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , can not overcome blah characters .
the metaphors are provocative , but too often , the viewer is left puzzled by the mechanics of the delivery .
works better in the conception than it does in the execution ... winds up seeming just a little too clever .
if any of them list this ` credit ' on their resumes in the future , that 'll be much funnier than anything in the film ...
after you laugh once -lrb- maybe twice -rrb- , you will have completely forgotten the movie by the time you get back to your car in the parking lot .
the hanukkah spirit seems fried in pork .
despite all the closed-door hanky-panky , the film is essentially juiceless .
it 's one long bore .
if you are curious to see the darker side of what 's going on with young tv actors -lrb- dawson leery did what ?!? -rrb- , or see some interesting storytelling devices , you might want to check it out , but there 's nothing very attractive about this movie .
none of this is very original , and it is n't particularly funny .
an empty , purposeless exercise .
too bad .
can be classified as one of those ` alternate reality ' movies ... except that it would have worked so much better dealing in only one reality .
despite some strong performances , never rises above the level of a telanovela .
painfully padded .
the sum of all fears is remarkably fuddled about motives and context , which drains it of the dramatic substance that would shake us in our boots -lrb- or cinema seats -rrb- .
every joke is repeated at least -- annoying , is n't it ?
for dance completists only .
it has the air of a surprisingly juvenile lark , a pop-influenced prank whose charms are immediately apparent and wear thin with repetition .
it 's uninteresting .
bray is completely at sea ; with nothing but a savage garden music video on his resume , he has no clue about making a movie .
seemingly a vehicle to showcase the canadian 's inane ramblings , stealing harvard is a smorgasbord of soliloquies about nothing delivered by the former mr. drew barrymore .
confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it .
ultimately , sarah 's dedication to finding her husband seems more psychotic than romantic , and nothing in the movie makes a convincing case that one woman 's broken heart outweighs all the loss we witness .
one of the worst movies of the year .
like a soft drink that 's been sitting open too long : it 's too much syrup and not enough fizz .
too bad writer-director adam rifkin situates it all in a plot as musty as one of the golden eagle 's carpets .
it has more in common with a fireworks display than a movie , which normally is expected to have characters and a storyline .
... an hour-and-a-half of inoffensive , unmemorable filler .
ultimately , the film never recovers from the clumsy cliché of the ugly american abroad , and the too-frosty exterior ms. paltrow employs to authenticate her british persona is another liability .
in the book-on-tape market , the film of `` the kid stays in the picture '' would be an abridged edition
it is bad , but certainly not without merit as entertainment .
high crimes is a cinematic misdemeanor , a routine crime thriller remarkable only for its lack of logic and misuse of two fine actors , morgan freeman and ashley judd .
the project 's filmmakers forgot to include anything even halfway scary as they poorly rejigger fatal attraction into a high school setting .
devoid of any of the qualities that made the first film so special .
seemingly disgusted with the lazy material and the finished product 's unshapely look , director fisher stevens inexplicably dips key moments from the film in waking life water colors .
it 's also curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget .
do n't let the subtitles fool you ; the movie only proves that hollywood no longer has a monopoly on mindless action .
the only type of lives this glossy comedy-drama resembles are ones in formulaic mainstream movies .
you see the movie and you think , zzzzzzzzz .
this is a heartfelt story ... it just is n't a very involving one .
` martin lawrence live ' is so self-pitying , i almost expected there to be a collection taken for the comedian at the end of the show .
the screenplay does too much meandering , norton has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced , hopkins looks like a drag queen .
if oscar had a category called best bad film you thought was going to be really awful but was n't , guys would probably be duking it out with the queen of the damned for the honor .
anyone else who may , for whatever reason , be thinking about going to see this movie is hereby given fair warning .
i could n't help but feel the wasted potential of this slapstick comedy .
the latest vapid actor 's exercise to appropriate the structure of arthur schnitzler 's reigen .
there 's only one way to kill michael myers for good : stop buying tickets to these movies .
falsehoods pile up , undermining the movie 's reality and stifling its creator 's comic voice .
bland but harmless .
like leafing through an album of photos accompanied by the sketchiest of captions .
judd 's characters ought to pick up the durable best seller smart women , foolish choices for advice .
the criticism never rises above easy , cynical potshots at morally bankrupt characters ...
an unbelievably stupid film , though occasionally fun enough to make you forget its absurdity .
to build a feel-good fantasy around a vain dictator-madman is off-putting , to say the least , not to mention inappropriate and wildly undeserved .
a generic bloodbath that often becomes laughably unbearable when it is n't merely offensive .
this is the kind of movie during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness .
its appeal will probably limited to lds church members and undemanding armchair tourists .
the latest adam sandler assault and possibly the worst film of the year .
hill looks to be going through the motions , beginning with the pale script .
disjointed parody .
typical animé , with cheapo animation -lrb- like saturday morning tv in the '60s -rrb- , a complex sword-and-sorcery plot and characters who all have big round eyes and japanese names .
you ca n't believe anyone would really buy this stuff .
the plot is nothing but boilerplate clichés from start to finish , and the script assumes that not only would subtlety be lost on the target audience , but that it 's also too stupid to realize that they 've already seen this exact same movie a hundred times
though this rude and crude film does deliver a few gut-busting laughs , its digs at modern society are all things we 've seen before .
glizty but formulaic and silly ... cagney 's ` top of the world ' has been replaced by the bottom of the barrel .
makes a joke out of car chases for an hour and then gives us half an hour of car chases .
-lrb- a -rrb- soulless , stupid sequel ...
humorless , self-conscious art drivel , made without a glimmer of intelligence or invention .
it 's a thin notion , repetitively stretched out to feature length , awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue .
a dull , dumb and derivative horror film .
how about surprising us by trying something new ?
even by the intentionally low standards of frat-boy humor , sorority boys is a bowser .
an affable but undernourished romantic comedy that fails to match the freshness of the actress-producer and writer 's previous collaboration , miss congeniality .
i found it slow , predictable and not very amusing .
the movie spends more time with schneider than with newcomer mcadams , even though her performance is more interesting -lrb- and funnier -rrb- than his .
it is a popcorn film , not a must-own , or even a must-see .
how inept is serving sara ?
the film , like jimmy 's routines , could use a few good laughs .
this is n't a new idea .
on a cutting room floor somewhere lies ... footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire .
but first , you have to give the audience a reason to want to put for that effort
those of you who are not an eighth grade girl will most likely doze off during this one .
a rambling ensemble piece with loosely connected characters and plots that never quite gel .
this action-thriller\/dark comedy is one of the most repellent things to pop up in a cinematic year already littered with celluloid garbage .
the movie is the equivalent of french hip-hop , which also seems to play on a 10-year delay .
both shrill and soporific , and because everything is repeated five or six times , it can seem tiresomely simpleminded .
the action here is unusually tame , the characters are too simplistic to maintain interest , and the plot offers few surprises .
there 's a delightfully quirky movie to be made from curling , but brooms is n't it .
i suspect that there are more interesting ways of dealing with the subject .
one problem with the movie , directed by joel schumacher , is that it jams too many prefabricated story elements into the running time .
barely manages for but a few seconds over its seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference .
the story the movie tells is of brian de palma 's addiction to the junk-calorie suspense tropes that have all but ruined his career .
it 's not a bad premise , just a bad movie .
if you enjoy being rewarded by a script that assumes you are n't very bright , then blood work is for you .
most fish stories are a little peculiar , but this is one that should be thrown back in the river .
a word of advice to the makers of the singles ward : celebrity cameos do not automatically equal laughs .
a pathetic exploitation film that tries to seem sincere , and just seems worse for the effort .
`` one look at a girl in tight pants and big tits and you turn stupid ? ''
an unfortunate title for a film that has nothing endearing about it .
david spade as citizen kane ?
director george hickenlooper has had some success with documentaries , but here his sense of story and his juvenile camera movements smack of a film school undergrad , and his maudlin ending might not have gotten him into film school in the first place .
the very definition of what critics have come to term an `` ambitious failure . ''
i can imagine this movie as a b & w british comedy , circa 1960 , with peter sellers , kenneth williams , et al. , but at this time , with this cast , this movie is hopeless .
at times auto focus feels so distant you might as well be watching it through a telescope .
a brutally dry satire of middle american numbness .
sounding like arnold schwarzenegger , with a physique to match , -lrb- ahola -rrb- has a wooden delivery and encounters a substantial arc of change that does n't produce any real transformation .
unfortunately , that 's precisely what arthur dong 's family fundamentals does .
a rude black comedy about the catalytic effect a holy fool has upon those around him in the cutthroat world of children 's television .
so we got ten little indians meets friday the 13th by way of clean and sober , filmed on the set of carpenter 's the thing and loaded with actors you 're most likely to find on the next inevitable incarnation of the love boat .
with its lackadaisical plotting and mindless action , all about the benjamins evokes the bottom tier of blaxploitation flicks from the 1970s .
collapses under its own meager weight .
does n't deserve a passing grade -lrb- even on a curve -rrb- .
i do n't blame eddie murphy but should n't owen wilson know a movie must have a story and a script ?
a manipulative feminist empowerment tale thinly posing as a serious drama about spousal abuse .
the script becomes lifeless and falls apart like a cheap lawn chair .
so devoid of pleasure or sensuality that it can not even be dubbed hedonistic .
solondz is without doubt an artist of uncompromising vision , but that vision is beginning to feel , if not morally bankrupt , at least terribly monotonous .
here 's a case of two actors who do everything humanly possible to create characters who are sweet and believable , and are defeated by a screenplay that forces them into bizarre , implausible behavior .
`` solaris '' is a shapeless inconsequential move relying on the viewer to do most of the work .
-lrb- t -rrb- his slop does n't even have potential as a cult film , as it 's too loud to shout insults at the screen .
it reduces the complexities to bromides and slogans and it gets so preachy-keen and so tub-thumpingly loud it makes you feel like a chump just for sitting through it .
while solondz tries and tries hard , storytelling fails to provide much more insight than the inside column of a torn book jacket .
this is n't a movie ; it 's a symptom .
on its own , it 's not very interesting .
ignore the reputation , and ignore the film .
and it 's not that funny -- which is just generally insulting .
... the efforts of its star , kline , to lend some dignity to a dumb story are for naught .
some like it hot on the hardwood proves once again that a man in drag is not in and of himself funny .
we never feel anything for these characters , and as a result the film is basically just a curiosity .
director shekhar kapur and screenwriters michael schiffer and hossein amini have tried hard to modernize and reconceptualize things , but the barriers finally prove to be too great .
it 's like going to a house party and watching the host defend himself against a frothing ex-girlfriend .
it aimlessly and unsuccessfully attempts to fuse at least three dull plots into one good one .
but the problem with wendigo , for all its effective moments , is n't really one of resources .
-lrb- denis ' -rrb- bare-bones narrative more closely resembles an outline for a '70s exploitation picture than the finished product .
snipes is both a snore and utter tripe .
the chateau has one very funny joke and a few other decent ones , but all it amounts to is a mildly funny , sometimes tedious , ultimately insignificant film .
not only is entry number twenty the worst of the brosnan bunch , it 's one of the worst of the entire franchise .
shot like a postcard and overacted with all the boozy self-indulgence that brings out the worst in otherwise talented actors ...
stephen earnhart 's documentary is a decomposition of healthy eccentric inspiration and ambition -- wearing a cloak of unsentimental , straightforward text -- when it 's really an exercise in gross romanticization of the delusional personality type .
77 minutes of pokemon may not last 4ever , it just seems like it does .
a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state .
the whole thing 's fairly lame , making it par for the course for disney sequels .
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 .
boasting some of the most poorly staged and lit action in memory , impostor is as close as you can get to an imitation movie .
the crassness of this reactionary thriller is matched only by the ridiculousness of its premise .
it 's about as convincing as any other arnie musclefest , but has a little too much resonance with real world events and ultimately comes off as insultingly simplistic .
nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows .
` unfaithful ' cheats on itself and retreats to comfortable territory .
yes , spirited away is a triumph of imagination , but it 's also a failure of storytelling .
much of the digitally altered footage appears jagged , as if filmed directly from a television monitor , while the extensive use of stock footage quickly becomes a tiresome cliché .
derailed by bad writing and possibly also by some of that extensive post-production reworking to aim the film at young males in the throes of their first full flush of testosterone .
` god help us , but capra and cooper are rolling over in their graves . '
it makes me feel weird \/ thinking about all the bad things in the world \/ like puppies with broken legs \/ and butterflies that die \/ and movies starring pop queens
it 's bedeviled by labored writing and slack direction .
it is too bad that this likable movie is n't more accomplished .
although god is great addresses interesting matters of identity and heritage , it 's hard to shake the feeling that it was intended to be a different kind of film .
you can not guess why the cast and crew did n't sign a pact to burn the negative and the script and pretend the whole thing never existed .
feel free to go get popcorn whenever he 's not onscreen .
... pray does n't have a passion for the material .
plays like an unbalanced mixture of graphic combat footage and almost saccharine domestic interludes that are pure hollywood .
the film is a confusing melange of tones and styles , one moment a romantic trifle and the next a turgid drama .
lush and beautifully photographed -lrb- somebody suggested the stills might make a nice coffee table book -rrb- , but ultimately you 'll leave the theater wondering why these people mattered .
instead of using george and lucy 's most obvious differences to ignite sparks , lawrence desperately looks elsewhere , seizing on george 's haplessness and lucy 's personality tics .
it recycles every cliché about gays in what is essentially an extended soap opera .
the piano teacher , like its title character , is repellantly out of control .
the basic premise is intriguing but quickly becomes distasteful and downright creepy .
too campy to work as straight drama and too violent and sordid to function as comedy , vulgar is , truly and thankfully , a one-of-a-kind work .
this romantic\/comedy asks the question how much souvlaki can you take before indigestion sets in .
full frontal had no effect and elicited no sympathies for any of the characters .
the movie is n't painfully bad , something to be ` fully experienced ' ; it 's just tediously bad , something to be fully forgotten .
devolves into the derivative , leaning on badly-rendered cgi effects .
remember back when thrillers actually thrilled ?
perhaps even the slc high command found writer-director mitch davis 's wall of kitsch hard going .
the acting is fine but the script is about as interesting as a recording of conversations at the wal-mart checkout line .
it 's difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny .
it 's makes a better travelogue than movie .
been there , done that , liked it much better the first time around - when it was called the professional .
i have to admit i walked out of runteldat .
a movie so bad that it quickly enters the pantheon of wreckage that includes battlefield earth and showgirls .
there are now two signs that m. night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .
what little atmosphere is generated by the shadowy lighting , macabre sets , and endless rain is offset by the sheer ugliness of everything else .
this starts off with a 1950 's doris day feel and it gets very ugly , very fast .
a lot like the imaginary sport it projects onto the screen -- loud , violent and mindless .
-lrb- seems -rrb- even more uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels .
it 's a feel-bad ending for a depressing story that throws a bunch of hot-button items in the viewer 's face and asks to be seen as hip , winking social commentary .
it 's just that it 's so not-at-all-good .
-lrb- l -rrb- ame and unnecessary .
i 'm not sure which will take longer to heal : the welt on johnny knoxville 's stomach from a riot-control projectile or my own tortured psyche .
... the kind of movie you see because the theater has air conditioning .
imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor .
try this obscenely bad dark comedy , so crass that it makes edward burns ' sidewalks of new york look like oscar wilde .
nothing more than a widget cranked out on an assembly line to see if stupid americans will get a kick out of goofy brits with cute accents performing ages-old slapstick and unfunny tricks .
bad and baffling from the get-go .
the obnoxious special effects , the obligatory outbursts of flatulence and the incessant , so-five-minutes-ago pop music on the soundtrack overwhelm what is left of the scruffy , dopey old hanna-barbera charm .
unsurprisingly , the way this all works out makes the women look more like stereotypical caretakers and moral teachers , instead of serious athletes .
purposefully shocking in its eroticized gore , if unintentionally dull in its lack of poetic frissons .
tends to plod .
pleasant but not more than recycled jock piffle .
stupid , infantile , redundant , sloppy , over-the-top , and amateurish .
this odd , distant portuguese import more or less borrows from bad lieutenant and les vampires , and comes up with a kind of art-house gay porn film .
during the tuxedo 's 90 minutes of screen time , there is n't one true ` chan moment ' .
it 's mildly sentimental , unabashedly consumerist ... studiously inoffensive and completely disposable .
plays like the old disease-of-the-week small-screen melodramas .
... pays tribute to heroes the way julia roberts hands out awards -- with phony humility barely camouflaging grotesque narcissism .
before long , you 're desperate for the evening to end .
watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say , when carol kane appears on the screen .
it looks good , but it is essentially empty .
sure , i hated myself in the morning .
but ticket-buyers with great expectations will wind up as glum as mr. de niro .
the film was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one -lrb- and no one -rrb- .
not at all clear what it 's trying to say and even if it were -- i doubt it would be all that interesting .
a movie where story is almost an afterthought amidst a swirl of colors and inexplicable events .
lazily and glumly settles into a most traditional , reserved kind of filmmaking .
it appears as if even the filmmakers did n't know what kind of movie they were making .
spider-man is about growing strange hairs , getting a more mature body , and finding it necessary to hide new secretions from the parental units .
i 'm not sure these words have ever been together in the same sentence : this erotic cannibal movie is boring .
maybe you 'll be lucky , and there 'll be a power outage during your screening so you can get your money back .
... unbearably lame .
certainly not a good movie , but it was n't horrible either .
where the film falters is in its tone .
this film biggest problem ?
the sinister inspiration that fuelled devito 's early work is confused in death to smoochy into something both ugly and mindless .
sorority boys , which is as bad at it is cruel , takes every potential laugh and stiletto-stomps the life out of it .
grating and tedious .
at three hours and with very little story or character development , there is plenty of room for editing , and a much shorter cut surely would have resulted in a smoother , more focused narrative without sacrificing any of the cultural intrigue .
it 's too interested in jerking off in all its byzantine incarnations to bother pleasuring its audience .
none of this so-called satire has any sting to it , as if woody is afraid of biting the hand that has finally , to some extent , warmed up to him .
a prison comedy that never really busts out of its comfy little cell .
neither as scary-funny as tremors nor demented-funny as starship troopers , the movie is n't tough to take as long as you 've paid a matinee price .
the movie is a dud .
does n't do more than expand a tv show to movie length .
the movie turns out to be -lrb- assayas ' -rrb- homage to the gallic ` tradition of quality , ' in all its fusty squareness .
once the downward spiral comes to pass , auto focus bears out as your typical junkie opera ...
` butterfingered ' is the word for the big-fisted direction of jez butterworth , who manages to blast even the smallest sensitivities from the romance with his clamorous approach .
cal is an unpleasantly shallow and immature character with whom to spend 110 claustrophobic minutes .
diane lane 's sophisticated performance ca n't rescue adrian lyne 's unfaithful from its sleazy moralizing .
anyone who suffers through this film deserves , at the very least , a big box of consolation candy .
the original was n't a good movie but this remake makes it look like a masterpiece !
one sloughs one 's way through the mire of this alleged psychological thriller in search of purpose or even a plot .
limps along on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very , very slowly .
no amount of nostalgia for carvey 's glory days can disguise the fact that the new film is a lame kiddie flick and that carvey 's considerable talents are wasted in it .
this is an ungainly movie , ill-fitting , with its elbows sticking out where the knees should be .
... if you , like me , think an action film disguised as a war tribute is disgusting to begin with , then you 're in for a painful ride .
bad company has one of the most moronic screenplays of the year , full of holes that will be obvious even to those who are n't looking for them .
i 'd be hard pressed to think of a film more cloyingly sappy than evelyn this year .
hollywood ending is the most disappointing woody allen movie ever .
it 's mildly amusing , but i certainly ca n't recommend it .
this dreadfully earnest inversion of the concubine love triangle eschews the previous film 's historical panorama and roiling pathos for bug-eyed mugging and gay-niche condescension .
formula 51 promises a new kind of high but delivers the same old bad trip .
what madonna does here ca n't properly be called acting -- more accurately , it 's moving and it 's talking and it 's occasionally gesturing , sometimes all at once .
the fact that the ` best part ' of the movie comes from a 60-second homage to one of demme 's good films does n't bode well for the rest of it .
something must have been lost in the translation .
if i want a real movie , i 'll buy the criterion dvd .
the problem is the needlessly poor quality of its archival prints and film footage .
there 's something unintentionally comic in the film 's drumbeat about authenticity , given the stale plot and pornographic way the film revels in swank apartments , clothes and parties .
its screenplay serves as auto-critique , and its clumsiness as its own most damning censure .
just is n't as weird as it ought to be .
watching queen of the damned is like reading a research paper , with special effects tossed in .
stinks from start to finish , like a wet burlap sack of gloom .
the merchant-ivory team continues to systematically destroy everything we hold dear about cinema , only now it 's begun to split up so that it can do even more damage .
exhibits the shallow sensationalism characteristic of soap opera ... more salacious telenovela than serious drama .
i 'm sure there 's a teenage boy out there somewhere who 's dying for this kind of entertainment .
why sit through a crummy , wannabe-hip crime comedy that refers incessantly to old movies , when you could just rent those movies instead , let alone seek out a respectable new one ?
a thoroughly awful movie -- dumb , narratively chaotic , visually sloppy ... a weird amalgam of ` the thing ' and a geriatric ` scream . '
contains the humor , characterization , poignancy , and intelligence of a bad sitcom .
laughably , irredeemably awful .
one long , numbing action sequence made up mostly of routine stuff yuen has given us before .
outside of burger 's desire to make some kind of film , it 's really unclear why this project was undertaken
as for children , they wo n't enjoy the movie at all .
if you saw it on tv , you 'd probably turn it off , convinced that you had already seen that movie .
while it is interesting to witness the conflict from the palestinian side , longley 's film lacks balance ... and fails to put the struggle into meaningful historical context .
journalistically dubious , inept and often lethally dull .
a series of escapades demonstrating the adage that what is good for the goose is also good for the gander , some of which occasionally amuses but none of which amounts to much of a story .
looks and feels like a low-budget hybrid of scarface or carlito 's way .
a profoundly stupid affair , populating its hackneyed and meanspirited storyline with cardboard characters and performers who value cash above credibility .
like its script , which nurses plot holes gaping enough to pilot an entire olympic swim team through , the characters in swimfan seem motivated by nothing short of dull , brain-deadening hangover .
do we really need the tiger beat version ?
but for the most part , the weight of water comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness .
and diesel is n't the actor to save it .
a feeble tootsie knockoff .
the skirmishes for power waged among victims and predators settle into an undistinguished rhythm of artificial suspense .
a thriller without a lot of thrills .
this is the kind of movie that you only need to watch for about thirty seconds before you say to yourself , ` ah , yes , here we have a bad , bad , bad movie . '
a long , dull procession of despair , set to cello music culled from a minimalist funeral .
most of the dialogue made me want to pack raw dough in my ears .
queen of the damned is too long with too little going on .
a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .
their parents would do well to cram earplugs in their ears and put pillowcases over their heads for 87 minutes .
cloaks a familiar anti-feminist equation -lrb- career - kids = misery -rrb- in tiresome romantic-comedy duds .
idiotic and ugly .
the major problem with windtalkers is that the bulk of the movie centers on the wrong character .
- greaseballs mob action-comedy .
supposedly , pokemon ca n't be killed , but pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over .
the acting is amateurish , the cinematography is atrocious , the direction is clumsy , the writing is insipid and the violence is at once luridly graphic and laughably unconvincing .
woody , what happened ?
but it 's also disappointing to a certain degree .
coarse , cliched and clunky , this trifling romantic comedy in which opposites attract for no better reason than that the screenplay demands it squanders the charms of stars hugh grant and sandra bullock .
bears about as much resemblance to the experiences of most battered women as spider-man does to the experiences of most teenagers .
a boring masquerade ball where normally good actors , even kingsley , are made to look bad .
a semi-autobiographical film that 's so sloppily written and cast that you can not believe anyone more central to the creation of bugsy than the caterer had anything to do with it .
the skills of a calculus major at m.i.t. are required to balance all the formulaic equations in the long-winded heist comedy who is cletis tout ?
though there are entertaining and audacious moments , the movie 's wildly careening tone and an extremely flat lead performance do little to salvage this filmmaker 's flailing reputation .
offers big , fat , dumb laughs that may make you hate yourself for giving in .
rollerball is as bad as you think , and worse than you can imagine .
there 's the plot , and a maddeningly insistent and repetitive piano score that made me want to scream .
it would be great to see this turd squashed under a truck , preferably a semi .
the pacing is deadly , the narration helps little and naipaul , a juicy writer , is negated .
human nature , in short , is n't nearly as funny as it thinks it is ; neither is it as smart .
even in the summertime , the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities .
the setting turns out to be more interesting than any of the character dramas , which never reach satisfying conclusions .
this painfully unfunny farce traffics in tired stereotypes and encumbers itself with complications ... that have no bearing on the story .
whether jason x is this bad on purpose is never clear .
all comedy is subversive , but this unrelenting bleak insistence on opting out of any opportunity for finding meaning in relationships or work just becomes sad .
the movie is concocted and carried out by folks worthy of scorn , and the nicest thing i can say is that i ca n't remember a single name responsible for it .
all too familiar ... basically the sort of cautionary tale that was old when ` angels with dirty faces ' appeared in 1938 .
seems like something american and european gay movies were doing 20 years ago .
this is a truly , truly bad movie .
what ` blade runner ' would 've looked like as a low-budget series on a uhf channel .
there is a difference between movies with the courage to go over the top and movies that do n't care about being stupid
every visual joke is milked , every set-up obvious and lengthy , every punchline predictable .
by that measure , it is a failure .
rather than real figures , elling and kjell bjarne become symbolic characters whose actions are supposed to relate something about the naïf 's encounter with the world .
... a pretentious mess ...
full of flatulence jokes and mild sexual references , kung pow !
so mind-numbingly awful that you hope britney wo n't do it one more time , as far as movies are concerned .
spectators will indeed sit open-mouthed before the screen , not screaming but yawning .
the thing just never gets off the ground .
after several scenes of this tacky nonsense , you 'll be wistful for the testosterone-charged wizardry of jerry bruckheimer productions , especially because half past dead is like the rock on a wal-mart budget .
once the expectation of laughter has been quashed by whatever obscenity is at hand , even the funniest idea is n't funny .
an ambitious , guilt-suffused melodrama crippled by poor casting .
this is an exercise not in biography but in hero worship .
the densest distillation of roberts ' movies ever made .
throughout all the tumult , a question comes to mind : so why is this so boring ?
too bad maggio could n't come up with a better script .
all mood and no movie .
a half-assed film .
a chiller resolutely without chills .
the first hour is tedious though ford and neeson capably hold our interest , but its just not a thrilling movie .
this mess of a movie is nothing short of a travesty of a transvestite comedy .
a baffling subplot involving smuggling drugs inside danish cows falls flat , and if you 're going to alter the bard 's ending , you 'd better have a good alternative .
there 's surely something wrong with a comedy where the only belly laughs come from the selection of outtakes tacked onto the end credits .
viewers are asked so often to suspend belief that were it not for holm 's performance , the film would be a total washout .
there 's no palpable chemistry between lopez and male lead ralph fiennes , plus the script by working girl scribe kevin wade is workmanlike in the extreme .
- spy action flick with antonio banderas and lucy liu never comes together .
there 's already been too many of these films ...
shows moments of promise but ultimately succumbs to cliches and pat storytelling .
a waterlogged version of ` fatal attraction ' for the teeny-bopper set ... a sad , soggy potboiler that wastes the talents of its attractive young leads .
the film starts promisingly , but the ending is all too predictable and far too cliched to really work .
it irritates and saddens me that martin lawrence 's latest vehicle can explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere .
that chirpy songbird britney spears has popped up with more mindless drivel .
none of the characters or plot-lines are fleshed-out enough to build any interest .
ultimately too repellent to fully endear itself to american art house audiences , but it is notable for its stylistic austerity and forcefulness .
kids do n't mind crappy movies as much as adults , provided there 's lots of cute animals and clumsy people .
it forces you to watch people doing unpleasant things to each other and themselves , and it maintains a cool distance from its material that is deliberately unsettling .
while the performances are often engaging , this loose collection of largely improvised numbers would probably have worked better as a one-hour tv documentary .
haneke 's script -lrb- from elfriede jelinek 's novel -rrb- is contrived , unmotivated , and psychologically unpersuasive , with an inconclusive ending .
there is only so much baked cardboard i need to chew .
the movie is loaded with good intentions , but in his zeal to squeeze the action and our emotions into the all-too-familiar dramatic arc of the holocaust escape story , minac drains his movie of all individuality .
... a movie that , quite simply , should n't have been made .
five screenwriters are credited with the cliché-laden screenplay ; it seems as if each watered down the version of the one before .
guys say mean things and shoot a lot of bullets .
wewannour money back , actually .
the cumulative effect of the movie is repulsive and depressing .
an empty shell of an epic rather than the real deal .
-lrb- johnnie to and wai ka fai are -rrb- sure to find an enthusiastic audience among american action-adventure buffs , but the film 's interests may be too narrow to attract crossover viewers .
this feature is about as necessary as a hole in the head
it leers , offering next to little insight into its intriguing subject .
a pleasant and engaging enough sit , but in trying to have the best of both worlds it ends up falling short as a whole .
ararat feels like a book report
the beautiful images and solemn words can not disguise the slack complacency of -lrb- godard 's -rrb- vision , any more than the gorgeous piano and strings on the soundtrack can drown out the tinny self-righteousness of his voice .
it 's a shame the marvelous first 101 minutes have to be combined with the misconceived final 5 .
my advice is to skip the film and pick up the soundtrack .
the movie resolutely avoids all the comic possibilities of its situation , and becomes one more dumb high school comedy about sex gags and prom dates .
set in a 1986 harlem that does n't look much like anywhere in new york .
in the spirit of the season , i assign one bright shining star to roberto benigni 's pinocchio -- but i guarantee that no wise men will be following after it .
they crush each other under cars , throw each other out windows , electrocute and dismember their victims in full consciousness .
as predictable as the outcome of a globetrotters-generals game , juwanna mann is even more ludicrous than you 'd expect from the guy-in-a-dress genre , and a personal low for everyone involved .
... the story is far-flung , illogical , and plain stupid .
it 's all arty and jazzy and people sit and stare and turn away from one another instead of talking and it 's all about the silences and if you 're into that , have at it .
another useless recycling of a brutal mid - '70s american sports movie .
the kind of movie that leaves vague impressions and a nasty aftertaste but little clear memory of its operational mechanics .
this insufferable movie is meant to make you think about existential suffering .
two big things are missing -- anything approaching a visceral kick , and anything approaching even a vague reason to sit through it all .
an extremely unpleasant film .
not good enough to pass for a litmus test of the generation gap and not bad enough to repulse any generation of its fans .
after seeing the film , i can tell you that there 's no other reason why anyone should bother remembering it .
it stars schticky chris rock and stolid anthony hopkins , who seem barely in the same movie .
merely -lrb- and literally -rrb- tosses around sex toys and offers half-hearted paeans to empowerment that are repeatedly undercut by the brutality of the jokes , most at women 's expense .
throwing in everything except someone pulling the pin from a grenade with his teeth , windtalkers seems to have ransacked every old world war ii movie for overly familiar material .
chai 's structure and pacing are disconcertingly slack .
the director mostly plays it straight , turning leys ' fable into a listless climb down the social ladder .
millions of dollars heaped upon a project of such vast proportions need to reap more rewards than spiffy bluescreen technique and stylish weaponry .
any film that does n't even in passing mention political prisoners , poverty and the boat loads of people who try to escape the country is less a documentary and more propaganda by way of a valentine sealed with a kiss .
it 's depressing to see how far herzog has fallen .
some episodes work , some do n't .
all the more disquieting for its relatively gore-free allusions to the serial murders , but it falls down in its attempts to humanize its subject .
a film of empty , fetishistic violence in which murder is casual and fun .
disappointing in comparison to other recent war movies ... or any other john woo flick for that matter .
the movie does n't add anything fresh to the myth .
it is n't that stealing harvard is a horrible movie -- if only it were that grand a failure !
the script falls back on too many tried-and-true shenanigans that hardly distinguish it from the next teen comedy .
a rote exercise in both animation and storytelling .
enough is not a bad movie , just mediocre .
stuffy , full of itself , morally ambiguous and nothing to shout about .
reyes ' directorial debut has good things to offer , but ultimately it 's undone by a sloppy script
it wears its heart on the sleeve of its gaudy hawaiian shirt .
... the film 's considered approach to its subject matter is too calm and thoughtful for agitprop , and the thinness of its characterizations makes it a failure as straight drama . '
equlibrium could pass for a thirteen-year-old 's book report on the totalitarian themes of 1984 and farenheit 451 .
we have poignancy jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except , maybe , that it looks neat .
you 'd be hard put to find a movie character more unattractive or odorous -lrb- than leon -rrb- .
what soured me on the santa clause 2 was that santa bumps up against 21st century reality so hard , it 's icky .
the lead actors share no chemistry or engaging charisma .
ms. phoenix is completely lacking in charm and charisma , and is unable to project either esther 's initial anomie or her eventual awakening .
when not wallowing in its characters ' frustrations , the movie is busy contriving false , sitcom-worthy solutions to their problems .
the laughs are as rare as snake foo yung .
but there 's plenty to offend everyone ...
after that it becomes long and tedious like a classroom play in a college history course .
stitch is a bad mannered , ugly and destructive little \*\*\*\* .
what should have been a painless time-killer becomes instead a grating endurance test .
the film has -lrb- its -rrb- moments , but they are few and far between .
if religious films are n't your bailiwick , stay away .
the april 2002 instalment of the american war for independence , complete with loads of cgi and bushels of violence , but not a drop of human blood .
if there was any doubt that peter o'fallon did n't have an original bone in his body , a rumor of angels should dispel it .
there is something in full frontal , i guess , about artifice and acting and how it distorts reality for people who make movies and watch them , but like most movie riddles , it works only if you have an interest in the characters you see .
a minor-league soccer remake of the longest yard .
` it 's painful to watch witherspoon 's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama . '
to me , it sounds like a cruel deception carried out by men of marginal intelligence , with reactionary ideas about women and a total lack of empathy .
too bland and fustily tasteful to be truly prurient .
it does n't work as either .
this one aims for the toilet and scores a direct hit .
in the name of an allegedly inspiring and easily marketable flick , the emperor 's club turns a blind eye to the very history it pretends to teach .
the movie is undone by a filmmaking methodology that 's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads .
the pacing is often way off and there are too many bona fide groaners among too few laughs .
the film has the thrown-together feel of a summer-camp talent show : hastily written , underrehearsed , arbitrarily plotted and filled with crude humor and vulgar innuendo .
strong filmmaking requires a clear sense of purpose , and in that oh-so-important category , the four feathers comes up short .
i have returned from the beyond to warn you : this movie is 90 minutes long , and life is too short .
they 're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid .
spain 's greatest star wattage does n't overcome the tumult of maudlin tragedy .
director jay russell stomps in hobnail boots over natalie babbitt 's gentle , endearing 1975 children 's novel .
... a pretentious and ultimately empty examination of a sick and evil woman .
most of the movie is so deadly dull that watching the proverbial paint dry would be a welcome improvement .
this remake of lina wertmuller 's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john and bo derek made the ridiculous bolero .
-lrb- a -rrb- poorly executed comedy .
what little grace -lrb- rifkin 's -rrb- tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics .
however sincere it may be , the rising place never quite justifies its own existence .
the whole thing feels like a ruse , a tactic to cover up the fact that the picture is constructed around a core of flimsy -- or , worse yet , nonexistent -- ideas .
supposedly authentic account of a historical event that 's far too tragic to merit such superficial treatment .
no laughs .
the whole thing plays like a tired tyco ad .
it 's exactly the kind of movie toback 's detractors always accuse him of making .
it would be churlish to begrudge anyone for receiving whatever consolation that can be found in dragonfly , yet it is impossible to find the film anything but appalling , shamelessly manipulative and contrived , and totally lacking in conviction .
both deserve better .
slap me , i saw this movie .
hopelessly inane , humorless and under-inspired .
bogdanich is unashamedly pro-serbian and makes little attempt to give voice to the other side .
like a pack of dynamite sticks , built for controversy .
ponderous , plodding soap opera disguised as a feature film .
gets the look and the period trappings right , but it otherwise drowns in a sea of visual and verbal clichés .
gorgeous to look at but insufferably tedious and turgid ... a curiously constricted epic .
then again , in a better movie , you might not have noticed .
the re - enactments , however fascinating they may be as history , are too crude to serve the work especially well .
oedekerk mugs mercilessly , and the genuinely funny jokes are few and far between .
often silly -- and gross -- but it 's rarely as moronic as some campus gross-out films .
... unlike -lrb- scorsese 's mean streets -rrb- , ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot .
sheridan 's take on the author 's schoolboy memoir ... is a rather toothless take on a hard young life .
under-rehearsed and lifeless
this 10th film in the series looks and feels tired .
a shoddy male hip hop fantasy filled with guns , expensive cars , lots of naked women and rocawear clothing .
even the hastily and amateurishly drawn animation can not engage .
on top of a foundering performance , -lrb- madonna 's -rrb- denied her own athleticism by lighting that emphasizes every line and sag .
about the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience 's meat grinder one more time .
a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for -- well , i 'm not exactly sure what -- and has all the dramatic weight of a raindrop .
the film desperately sinks further and further into comedy futility .
it almost feels as if the movie is more interested in entertaining itself than in amusing us .
a low-rent retread of the alien pictures .
it merely indulges in the worst elements of all of them .
the entire film is one big excuse to play one lewd scene after another .
report card : does n't live up to the exalted tagline - there 's definite room for improvement .
too intensely focused on the travails of being hal hartley to function as pastiche , no such thing is hartley 's least accessible screed yet .
it 's got the brawn , but not the brains .
lacks dramatic punch and depth .
like the excruciating end of days , collateral damage presents schwarzenegger as a tragic figure , but sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions .
ozpetek offers an aids subtext , skims over the realities of gay sex , and presents yet another tired old vision of the gay community as an all-inclusive world where uptight , middle class bores like antonia can feel good about themselves .
the leads are so unmemorable , despite several attempts at lengthy dialogue scenes , that one eventually resents having to inhale this gutter romancer 's secondhand material .
a relative letdown .
from its nauseating spinning credits sequence to a very talented but underutilized supporting cast , bartleby squanders as much as it gives out .
inconsequential road-and-buddy pic .
it 's been 13 months and 295 preview screenings since i last walked out on a movie , but resident evil really earned my indignant , preemptive departure .
starts as an intense political and psychological thriller but is sabotaged by ticking time bombs and other hollywood-action cliches .
the film is grossly contradictory in conveying its social message , if indeed there is one .
boyd 's screenplay -lrb- co-written with guardian hack nick davies -rrb- has a florid turn of phrase that owes more to guy ritchie than the bard of avon .
a big , loud , bang-the-drum bore .
horrendously amateurish filmmaking that is plainly dull and visually ugly when it is n't incomprehensible .
after collateral damage , you might imagine that most every aggrieved father cliché has been unturned .
you get the impression that writer and director burr steers knows the territory ... but his sense of humor has yet to lose the smug self-satisfaction usually associated with the better private schools .
viewers will need all the luck they can muster just figuring out who 's who in this pretentious mess .
i just saw this movie ... well , it 's probably not accurate to call it a movie .
still , it just sits there like a side dish no one ordered .
who , exactly , is fighting whom here ?
can be as tiresome as 9 seconds of jesse helms ' anti- castro rhetoric , which are included
it 's a lot to ask people to sit still for two hours and change watching such a character , especially when rendered in as flat and impassive a manner as phoenix 's .
in truth , it has all the heart of a porno flick -lrb- but none of the sheer lust -rrb- .
cherish would 've worked a lot better had it been a short film .
maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .
a zippy 96 minutes of mediocre special effects , hoary dialogue , fluxing accents , and -- worst of all -- silly-looking morlocks .
every so often a film comes along that is so insanely stupid , so awful in so many ways that watching it leaves you giddy .
evokes the frustration , the awkwardness and the euphoria of growing up , without relying on the usual tropes .
as it is , it 's too long and unfocused .
this is not a classical dramatic animated feature , nor a hip , contemporary , in-jokey one .
too much of storytelling moves away from solondz 's social critique , casting its audience as that of intellectual lector in contemplation of the auteur 's professional injuries .
further sad evidence that tom tykwer , director of the resonant and sense-spinning run lola run , has turned out to be a one-trick pony -- a maker of softheaded metaphysical claptrap .
coupling disgracefully written dialogue with flailing bodily movements that substitute for acting , circuit is the awkwardly paced soap opera-ish story .
you try to guess the order in which the kids in the house will be gored .
-lrb- siegel -rrb- and co-writers lisa bazadona and grace woodard have relied too much on convention in creating the characters who surround frankie .
unambitious writing emerges in the movie , using a plot that could have come from an animated-movie screenwriting textbook .
i do n't think most of the people who loved the 1989 paradiso will prefer this new version .
a sluggish pace and lack of genuine narrative hem the movie in every bit as much as life hems in the spirits of these young women .
broomfield 's style of journalism is hardly journalism at all , and even those with an avid interest in the subject will grow impatient .
even with its $ 50-million us budget , pinocchio never quite achieves the feel of a fanciful motion picture .
adam sandler 's heart may be in the right place , but he needs to pull his head out of his butt
that frenetic spectacle -lrb- on the tv show -rrb- has usually been leavened by a charm that 's conspicuously missing from the girls ' big-screen blowout .
qualities that were once amusing are becoming irritating .
what a stiflingly unfunny and unoriginal mess this is !
too stagey , talky -- and long -- for its own good .
as pure over-the-top trash , any john waters movie has it beat by a country mile .
a clumsily manufactured exploitation flick , a style-free exercise in manipulation and mayhem .
it lacks the compassion , good-natured humor and the level of insight that made -lrb- eyre 's -rrb- first film something of a sleeper success .
personally , i 'd rather watch them on the animal planet .
an annoying orgy of excess and exploitation that has no point and goes nowhere .
paul cox needed to show it .
the images lack contrast , are murky and are frequently too dark to be decipherable .
dismally dull sci-fi comedy .
burns ' fifth beer-soaked film feels in almost every possible way -- from the writing and direction to the soggy performances -- tossed off .
it 's not so much a movie as a joint promotion for the national basketball association and teenaged rap and adolescent poster-boy lil ' bow wow .
it labours as storytelling .
the nonstop artifice ultimately proves tiresome , with the surface histrionics failing to compensate for the paper-thin characterizations and facile situations .
it makes me say the obvious : abandon all hope of a good movie ye who enter here .
festers in just such a dungpile that you 'd swear you were watching monkeys flinging their feces at you .
yes , i have given this movie a rating of zero .
an acceptable way to pass a little over an hour with moviegoers ages 8-10 , but it 's unlikely to inspire anything more than a visit to mcdonald 's , let alone some savvy street activism .
has nothing good to speak about other than the fact that it is relatively short , tries its best to hide the fact that seagal 's overweight and out of shape .
like a three-ring circus , there are side stories aplenty -- none of them memorable .
just too silly and sophomoric to ensnare its target audience .
right now , they 're merely signposts marking the slow , lingering death of imagination .
while easier to sit through than most of jaglom 's self-conscious and gratingly irritating films , it 's still tainted by cliches , painful improbability and murky points .
boy , has this franchise ever run out of gas .
the film itself is about something very interesting and odd that would probably work better as a real documentary without the insinuation of mediocre acting or a fairly trite narrative .
two hours of junk .
this is absolutely and completely ridiculous and an insult to every family whose mother has suffered through the horrible pains of a death by cancer .
alternative medicine obviously has its merits ... but ayurveda does the field no favors .
it 's not as awful as some of the recent hollywood trip tripe ... but it 's far from a groundbreaking endeavor .
a soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for nba properties .
talkiness is n't necessarily bad , but the dialogue frequently misses the mark .
but the 2002 film does n't really believe in it , and breaks the mood with absurdly inappropriate ` comedy ' scenes .
not so much farcical as sour .
like life on the island , the movie grows boring despite the scenery .
the material and the production itself are little more than routine .
aspires to the cracked lunacy of the adventures of buckaroo banzai , but thanks to an astonishingly witless script ends up more like the adventures of ford fairlane .
a bizarre piece of work , with premise and dialogue at the level of kids ' television and plot threads as morose as teen pregnancy , rape and suspected murder
at best , cletis tout might inspire a trip to the video store -- in search of a better movie experience .
skip this turd and pick your nose instead because you 're sure to get more out of the latter experience .
be forewarned , if you 're depressed about anything before watching this film , you may just end up trying to drown yourself in a lake afterwards .
it has become apparent that the franchise 's best years are long past .
even in terms of the low-grade cheese standards on which it operates , it never quite makes the grade as tawdry trash .
the nicest thing that can be said about stealing harvard -lrb- which might have been called freddy gets molested by a dog -rrb- is that it 's not as obnoxious as tom green 's freddie got fingered .
ill-considered , unholy hokum .
it 's just merely very bad .
rymer does n't trust laughs -- and does n't conjure proper respect for followers of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects .
trying to make head or tail of the story in the hip-hop indie snipes is enough to give you brain strain -- and the pay-off is negligible .
this toothless dog , already on cable , loses all bite on the big screen .
boll uses a lot of quick cutting and blurry step-printing to goose things up , but dopey dialogue and sometimes inadequate performances kill the effect .
this 90-minute dud could pass for mike tyson 's e !
a generic family comedy unlikely to be appreciated by anyone outside the under-10 set .
an amateurish , quasi-improvised acting exercise shot on ugly digital video .
the very simple story seems too simple and the working out of the plot almost arbitrary .
the elements were all there but lack of a pyschological center knocks it flat .
what remains is a variant of the nincompoop benigni persona , here a more annoying , though less angry version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip .
cherish is a dud -- a romantic comedy that 's not the least bit romantic and only mildly funny .
let 's see , a haunted house , a haunted ship , what 's next ... ghost blimp ?
with its paint fights , motorized scooter chases and dewy-eyed sentiment , it 's a pretty listless collection of kid-movie clichés .
what 's missing is what we call the ` wow ' factor .
normally , rohmer 's talky films fascinate me , but when he moves his setting to the past , and relies on a historical text , he loses the richness of characterization that makes his films so memorable .
even if it is generally amusing from time to time , i spy has all the same problems the majority of action comedies have .
the abiding impression , despite the mild hallucinogenic buzz , is of overwhelming waste -- the acres of haute couture ca n't quite conceal that there 's nothing resembling a spine here .
of all the halloween 's , this is the most visually unappealing .
sodden and glum , even in those moments where it 's supposed to feel funny and light .
with nary a glimmer of self-knowledge , -lrb- crane -rrb- becomes more specimen than character -- and auto focus remains a chilly , clinical lab report .
nothing about the film -- with the possible exception of elizabeth hurley 's breasts -- is authentic .
i approached the usher and said that if she had to sit through it again , she should ask for a raise .
it 's just weirdness for the sake of weirdness , and where human nature should be ingratiating , it 's just grating .
its audacious ambitions sabotaged by pomposity , steven soderbergh 's space opera emerges as a numbingly dull experience .
even if the enticing prospect of a lot of nubile young actors in a film about campus depravity did n't fade amid the deliberate , tiresome ugliness , it would be rendered tedious by avary 's failure to construct a story with even a trace of dramatic interest .
it goes on for too long and bogs down in a surfeit of characters and unnecessary subplots .
a feel-good movie that does n't give you enough to feel good about .
give shapiro , goldman , and bolado credit for good intentions , but there 's nothing here that they could n't have done in half an hour .
i was feeling this movie until it veered off too far into the exxon zone , and left me behind at the station looking for a return ticket to realism .
it 's hard to pity the ` plain ' girl who becomes a ravishing waif after applying a smear of lip-gloss .
why anyone who is not a character in this movie should care is beyond me .
the movie 's major and most devastating flaw is its reliance on formula , though , and it 's quite enough to lessen the overall impact the movie could have had .
it is depressing , ruthlessly pained and depraved , the movie equivalent of staring into an open wound .
as aimless as an old pickup skidding completely out of control on a long patch of black ice , the movie makes two hours feel like four .
... contains very few laughs and even less surprises .
a horrible , 99-minute stink bomb .
a dull , somnambulant exercise in pretension whose pervasive quiet is broken by frequent outbursts of violence and noise .
it is n't quite one of the worst movies of the year .
writer-director randall wallace has bitten off more than he or anyone else could chew , and his movie veers like a drunken driver through heavy traffic .
starts promisingly but disintegrates into a dreary , humorless soap opera .
eight legged freaks wo n't join the pantheon of great monster\/science fiction flicks that we have come to love ...
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 .
the actors must indeed be good to recite some of this laughable dialogue with a straight face .
it 's better suited for the history or biography channel , but there 's no arguing the tone of the movie - it leaves a bad taste in your mouth and questions on your mind .
a story which fails to rise above its disgusting source material .
belongs in the too-hot-for-tv direct-to-video\/dvd category , and this is why i have given it a one-star rating .
imagine a film that begins as a seven rip-off , only to switch to a mix of the shining , the thing , and any naked teenagers horror flick from the 1980s .
without a fresh infusion of creativity , 4ever is neither a promise nor a threat so much as wishful thinking .
` in this poor remake of such a well loved classic , parker exposes the limitations of his skill and the basic flaws in his vision . '
overall tomfoolery like this is a matter of taste .
a soap-opera quality twist in the last 20 minutes ... almost puts the kibosh on what is otherwise a sumptuous work of b-movie imagination .
the actors try hard but come off too amateurish and awkward .
occasionally loud and offensive , but more often , it simply lulls you into a gentle waking coma .
despite suffering a sense-of-humour failure , the man who wrote rocky does not deserve to go down with a ship as leaky as this .
about half of them are funny , a few are sexy and none are useful in telling the story , which is paper-thin and decidedly unoriginal .
impostor ca n't think of a thing to do with these characters except have them run through dark tunnels , fight off various anonymous attackers , and evade elaborate surveillance technologies .
a great script brought down by lousy direction .
new ways of describing badness need to be invented to describe exactly how bad it is .
while this film has an ` a ' list cast and some strong supporting players , the tale -- like its central figure , vivi -- is just a little bit hard to love .
it 's a bad sign when you 're rooting for the film to hurry up and get to its subjects ' deaths just so the documentary will be over , but it 's indicative of how uncompelling the movie is unless it happens to cover your particular area of interest .
every sequel you skip will be two hours gained .
cherry orchard is badly edited , often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a ` back story . '
too slick and manufactured to claim street credibility .
it 's not the least of afghan tragedies that this noble warlord would be consigned to the dustbin of history .
while hollywood ending has its share of belly laughs -lrb- including a knockout of a closing line -rrb- , the movie winds up feeling like a great missed opportunity .
this movie ... does n't deserve the energy it takes to describe how bad it is .
after a while , hoffman 's quirks and mannerisms , particularly his penchant for tearing up on cue -- things that seem so real in small doses -- become annoying and artificial .
the only surprise is that heavyweights joel silver and robert zemeckis agreed to produce this ; i assume the director has pictures of them cavorting in ladies ' underwear .
the overall feel is not unlike watching a glorified episode of `` 7th heaven . ''
in the end , there is n't much to it .
an allegory concerning the chronically mixed signals african american professionals get about overachieving could be intriguing , but the supernatural trappings only obscure the message .
an incredibly irritating comedy about thoroughly vacuous people ... manages to embody the worst excesses of nouvelle vague without any of its sense of fun or energy .
mr. goyer 's loose , unaccountable direction is technically sophisticated in the worst way .
the movie weighs no more than a glass of flat champagne .
the film is flat .
stealing harvard will dip into your wallet , swipe 90 minutes of your time , and offer you precisely this in recompense : a few early laughs scattered around a plot as thin as it is repetitious .
but windtalkers does n't beat that one , either .
-lrb- lee -rrb- treats his audience the same way that jim brown treats his women -- as dumb , credulous , unassuming , subordinate subjects .
the problem with antwone fisher is that it has a screenplay written by antwone fisher based on the book by antwone fisher .
whenever you think you 've seen the end of the movie , we cut to a new scene , which also appears to be the end .
co-writer\/director jonathan parker 's attempts to fashion a brazil-like , hyper-real satire fall dreadfully short .
` it looks good , sonny , but you missed the point . '
there 's nothing remotely topical or sexy here .
fincher takes no apparent joy in making movies , and he gives none to the audience .
even after 90 minutes of playing opposite each other bullock and grant still look ill at ease sharing the same scene .
blood work is laughable in the solemnity with which it tries to pump life into overworked elements from eastwood 's dirty harry period .
the slapstick is labored , and the bigger setpieces flat .
the pool drowned me in boredom .
loses its sense of humor in a vat of failed jokes , twitchy acting , and general boorishness .
in the era of the sopranos , it feels painfully redundant and inauthentic .
it 's tough to be startled when you 're almost dozing .
represents the depths to which the girls-behaving-badly film has fallen .
an impenetrable and insufferable ball of pseudo-philosophic twaddle .
the film is an earnest try at beachcombing verismo , but it would be even more indistinct than it is were it not for the striking , quietly vulnerable personality of ms. ambrose .
it 's the element of condescension , as the filmmakers look down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful .
distances you by throwing out so many red herrings , so many false scares , that the genuine ones barely register .
the fact that it is n't very good is almost beside the point .
perhaps the grossest movie ever made .
... instead go rent `` shakes the clown '' , a much funnier film with a similar theme and an equally great robin williams performance .
the documentary is much too conventional -- lots of boring talking heads , etc. -- to do the subject matter justice .
nothing sticks , really , except a lingering creepiness one feels from being dragged through a sad , sordid universe of guns , drugs , avarice and damaged dreams .
the attempt to build up a pressure cooker of horrified awe emerges from the simple fact that the movie has virtually nothing to show .
wes craven 's presence is felt ; not the craven of ' a nightmare on elm street ' or ` the hills have eyes , ' but the sad schlock merchant of ` deadly friend . '
run for your lives !
the chateau ... is less concerned with cultural and political issues than doting on its eccentric characters .
-lrb- macdowell -rrb- ventures beyond her abilities several times here and reveals how bad an actress she is .
pap invested in undergraduate doubling subtexts and ridiculous stabs at existentialism reminding of the discovery of the wizard of god in the fifth trek flick .
the disjointed mess flows as naturally as jolie 's hideous yellow ` do .
unless bob crane is someone of particular interest to you , this film 's impressive performances and adept direction are n't likely to leave a lasting impression .
a not-so-divine secrets of the ya-ya sisterhood with a hefty helping of re-fried green tomatoes .
allegiance to chekhov , which director michael cacoyannis displays with somber earnestness in the new adaptation of the cherry orchard , is a particularly vexing handicap .
the filmmakers needed more emphasis on the storytelling and less on the glamorous machine that thrusts the audience into a future they wo n't much care about .
yet another arnold vehicle that fails to make adequate use of his particular talents .
an uncomfortable movie , suffocating and sometimes almost senseless , the grey zone does have a center , though a morbid one .
sweet gentle jesus , did the screenwriters just do a cut-and-paste of every bad action-movie line in history ?
-lrb- sam 's -rrb- self-flagellation is more depressing than entertaining .
but the cinematography is cloudy , the picture making becalmed .
some body smacks of exhibitionism more than it does cathartic truth telling .
plodding , peevish and gimmicky .
given too much time to consider the looseness of the piece , the picture begins to resemble the shapeless , grasping actors ' workshop that it is .
nijinsky says , ' i know how to suffer ' and if you see this film you 'll know too .
witless and utterly pointless .
fred schepisi 's film is paced at a speed that is slow to those of us in middle age and deathly slow to any teen .
it 's hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful , self-satisfied 22-year-old girlfriend and an equally beautiful , self-satisfied 18-year-old mistress .
but seriously , folks , it does n't work .
i was trying to decide what annoyed me most about god is great ... i 'm not , and then i realized that i just did n't care .
crossroads feels like a teenybopper ed wood film , replete with the pubescent scandalous innuendo and the high-strung but flaccid drama .
do n't say you were n't warned .
you leave the same way you came -- a few tasty morsels under your belt , but no new friends .
a chilly , remote , emotionally distant piece ... so dull that its tagline should be : ` in space , no one can hear you snore . '
chen films the resolutely downbeat smokers only with every indulgent , indie trick in the book .
the weird thing about the santa clause 2 , purportedly a children 's movie , is that there is nothing in it to engage children emotionally .
-lrb- hell is -rrb- looking down at your watch and realizing serving sara is n't even halfway through .
in other words , it 's just another sports drama\/character study .
there 's nothing interesting in unfaithful whatsoever .
worthy of the gong .
more dutiful than enchanting ... terribly episodic and lacking the spark of imagination that might have made it an exhilarating treat .
the film is so packed with subplots involving the various silbersteins that it feels more like the pilot episode of a tv series than a feature film .
it 's both sitcomishly predictable and cloying in its attempts to be poignant .
it is parochial , accessible to a chosen few , standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill
the film 's maudlin focus on the young woman 's infirmity and her naive dreams play like the worst kind of hollywood heart-string plucking .
lan yu seems altogether too slight to be called any kind of masterpiece .
fails in making this character understandable , in getting under her skin , in exploring motivation ... well before the end , the film grows as dull as its characters , about whose fate it is hard to care .
cold , pretentious , thoroughly dislikable study in sociopathy .
a peculiar misfire that even tunney ca n't save .
witless , pointless , tasteless and idiotic .
the problem is that it is one that allows him to churn out one mediocre movie after another .
they kept much of the plot but jettisoned the stuff that would make this a moving experience for people who have n't read the book .
with a tighter editorial process and firmer direction this material could work , especially since the actresses in the lead roles are all more than competent , but as is , personal velocity seems to be idling in neutral .
knockaround guys plays like a student film by two guys who desperately want to be quentin tarantino when they grow up .
offers absolutely nothing i had n't already seen .
the movie is a lumbering load of hokum but ... it 's at least watchable .
serving sara is little more than a mall movie designed to kill time .
a mawkish self-parody that plays like some weird masterpiece theater sketch with neither a point of view nor a compelling reason for being .
a bland , obnoxious 88-minute infomercial for universal studios and its ancillary products . . .
glazed with a tawdry b-movie scum .
... familiar and predictable , and 4\/5ths of it might as well have come from a xerox machine rather than -lrb- writer-director -rrb- franc .
this is as lax and limp a comedy as i 've seen in a while , a meander through worn-out material .
why would anyone cast the magnificent jackie chan in a movie full of stunt doubles and special effects ?
it 's surprisingly bland despite the heavy doses of weird performances and direction .
the script is a disaster , with cloying messages and irksome characters .
but it also comes with the laziness and arrogance of a thing that already knows it 's won .
the bottom line , at least in my opinion , is imposter makes a better short story than it does a film .
fails so fundamentally on every conventional level that it achieves some kind of goofy grandeur .
nohe has made a decent ` intro ' documentary , but he feels like a spectator and not a participant .
although no pastry is violated , this nasty comedy pokes fun at the same easy targets as other rowdy raunch-fests -- farts , boobs , unmentionables -- without much success .
the movie is too amateurishly square to make the most of its own ironic implications .
even as i valiantly struggled to remain interested , or at least conscious , i could feel my eyelids ... getting ... very ... heavy ...
despite its sincere acting , signs is just another unoriginal run of the mill sci-fi film with a flimsy ending and lots of hype .
incoherence reigns .
the drama was so uninspiring that even a story immersed in love , lust , and sin could n't keep my attention .
disreputable doings and exquisite trappings are dampened by a lackluster script and substandard performances .
... tara reid plays a college journalist , but she looks like the six-time winner of the miss hawaiian tropic pageant , so i do n't know what she 's doing in here ...
a major waste ... generic .
the problematic characters and overly convenient plot twists foul up shum 's good intentions .
this is a film about the irksome , tiresome nature of complacency that remains utterly satisfied to remain the same throughout .
this overlong infomercial , due out on video before month 's end , is tepid and tedious .
but how it washed out despite all of that is the project 's prime mystery .
it 's so tedious that it makes you forgive every fake , dishonest , entertaining and , ultimately , more perceptive moment in bridget jones 's diary .
this is one of the biggest disappointments of the year .
real-life strongman ahola lacks the charisma and ability to carry the film on his admittedly broad shoulders .
a mimetic approximation of better films like contempt and 8 1\/2 .
it 's just hard to believe that a life like this can sound so dull .
there 's not a single jump-in-your-seat moment and believe it or not , jason actually takes a backseat in his own film to special effects .
here the love scenes all end in someone screaming .
too many scenarios in which the hero might have an opportunity to triumphantly sermonize , and too few that allow us to wonder for ourselves if things will turn out okay .
stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes .
in fact , it does n't even seem like she tried .
stealing harvard does n't care about cleverness , wit or any other kind of intelligent humor .
rarely has a film 's title served such dire warning .
dripping with cliche and bypassing no opportunity to trivialize the material .
just because a walk to remember is shrewd enough to activate girlish tear ducts does n't mean it 's good enough for our girls .
the explosion essentially ruined -- or , rather , overpowered -- the fiction of the movie for me .
its initial excitement settles into a warmed over pastiche .
depicts the sorriest and most sordid of human behavior on the screen , then laughs at how clever it 's being .
on its icy face , the new film is a subzero version of monsters , inc. , without the latter 's imagination , visual charm or texture .
starts out mediocre , spirals downward , and thuds to the bottom of the pool with an utterly incompetent conclusion .
michele is a such a brainless flibbertigibbet that it 's hard to take her spiritual quest at all seriously .
the film falls short on tension , eloquence , spiritual challenge -- things that have made the original new testament stories so compelling for 20 centuries .
the idea is more interesting than the screenplay , which lags badly in the middle and lurches between not-very-funny comedy , unconvincing dramatics and some last-minute action strongly reminiscent of run lola run .
if you are willing to do this , then you so crazy !
there 's nothing exactly wrong here , but there 's not nearly enough that 's right .
kim ki-deok seems to have in mind an -lrb- emotionally at least -rrb- adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested .
leaks treacle from every pore .
oscar caliber cast does n't live up to material
it 's hard to imagine another director ever making his wife look so bad in a major movie .
has enough gun battles and throwaway humor to cover up the yawning chasm where the plot should be .
bean drops the ball too many times ... hoping the nifty premise will create enough interest to make up for an unfocused screenplay .
the tuxedo miscalculates badly by forcing the star to play second fiddle to the dull effects that allow the suit to come to life .
at the one-hour mark , herzog simply runs out of ideas and the pace turns positively leaden as the movie sputters to its inevitable tragic conclusion .
nearly every attempt at humor here is doa .
it 's a road-trip drama with too many wrong turns .
enigma is well-made , but it 's just too dry and too placid .
eight legged freaks falls flat as a spoof .
it 's a long way from orwell 's dark , intelligent warning cry -lrb- 1984 -rrb- to the empty stud knockabout of equilibrium , and what once was conviction is now affectation .
... while the humor aspects of ` jason x ' were far more entertaining than i had expected , everything else about the film tanks .
becomes the last thing you would expect from a film with this title or indeed from any plympton film : boring .
heavy with flabby rolls of typical toback machinations .
the only thing i laughed at were the people who paid to see it .
the script , the gags , the characters are all direct-to-video stuff , and that 's where this film should have remained .
on the evidence before us , the answer is clear : not easily and , in the end , not well enough .
an awkwardly contrived exercise in magic realism .
each scene immediately succumbs to gravity and plummets to earth .
nothing but one relentlessly depressing situation after another for its entire running time , something that you could easily be dealing with right now in your lives .
... hokey art house pretension .
unfortunately the story and the actors are served with a hack script .
told in scattered fashion , the movie only intermittently lives up to the stories and faces and music of the men who are its subject .
comes across as a fairly weak retooling .
the big finish is a bit like getting all excited about a chocolate eclair and then biting into it and finding the filling missing .
as saccharine movies go , this is likely to cause massive cardiac arrest if taken in large doses .
it 's quite an achievement to set and shoot a movie at the cannes film festival and yet fail to capture its visual appeal or its atmosphere .
apparently designed as a reverie about memory and regret , but the only thing you 'll regret is remembering the experience of sitting through it .
it never rises to its clever what-if concept .
shallow , noisy and pretentious .
a handsome but unfulfilling suspense drama more suited to a quiet evening on pbs than a night out at an amc .
could as easily have been called ` under siege 3 : in alcatraz ' ... a cinematic corpse that never springs to life .
is it a comedy ?
as is often the case with ambitious , eager first-time filmmakers , mr. murray , a prolific director of music videos , stuffs his debut with more plot than it can comfortably hold .
it does n't make for great cinema , but it is interesting to see where one 's imagination will lead when given the opportunity .
its and pieces of the hot chick are so hilarious , and schneider 's performance is so fine , it 's a real shame that so much of the movie -- again , as in the animal -- is a slapdash mess .
this is sandler running on empty , repeating what he 's already done way too often .
i walked away not really know who `` they '' were , what `` they '' looked like .
the movie is genial but never inspired , and little about it will stay with you .
what happens when something goes bump in the night and nobody cares ?
long on twinkly-eyed close-ups and short on shame .
the chocolate factory without charlie .
may offend viewers not amused by the sick sense of humor .
it made me feel unclean , and i 'm the guy who liked there 's something about mary and both american pie movies .
complex , sinuously plotted and , somehow , off-puttingly cold .
from the choppy editing to the annoying score to ` special effects ' by way of replacing objects in a character 's hands below the camera line , `` besotted '' is misbegotten
like the tuck family themselves , this movie just goes on and on and on and on
it should be doing a lot of things , but does n't .
... irritating soul-searching garbage .
a humorless journey into a philosophical void .
none of this sounds promising and , indeed , the first half of sorority boys is as appalling as any ` comedy ' to ever spill from a projector 's lens .
you can drive right by it without noticing anything special , save for a few comic turns , intended and otherwise .
the film 's thoroughly recycled plot and tiresome jokes ... drag the movie down .
were dylan thomas alive to witness first-time director ethan hawke 's strained chelsea walls , he might have been tempted to change his landmark poem to , ` do not go gentle into that good theatre . '
the film ultimately offers nothing more than people in an urban jungle needing other people to survive ...
wanders all over the map thematically and stylistically , and borrows heavily from lynch , jeunet , and von trier while failing to find a spark of its own .
lyne 's latest , the erotic thriller unfaithful , further demonstrates just how far his storytelling skills have eroded .
a determined , ennui-hobbled slog that really does n't have much to say beyond the news flash that loneliness can make people act weird .
fails to satisfactorily exploit its gender politics , genre thrills or inherent humor .
quite frankly , i ca n't see why any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out .
a little more intensity and a little less charm would have saved this film a world of hurt .
a really good premise is frittered away in middle-of-the-road blandness .
a bit too eager to please .
sade achieves the near-impossible : it turns the marquis de sade into a dullard .
a piece of mildly entertaining , inoffensive fluff that drifts aimlessly for 90 minutes before lodging in the cracks of that ever-growing category : unembarrassing but unmemorable .
this kiddie-oriented stinker is so bad that i even caught the gum stuck under my seat trying to sneak out of the theater
shreve 's graceful dual narrative gets clunky on the screen , and we keep getting torn away from the compelling historical tale to a less-compelling soap opera .
the story passes time until it 's time for an absurd finale of twisted metal , fireballs and revenge .
he 's not good with people .
big mistake .
aan opportunity wasted .
a stupid , derivative horror film that substitutes extreme gore for suspense .
less a study in madness or love than a study in schoolgirl obsession .
the pairing does sound promising in theory ... but their lack of chemistry makes eddie murphy and robert deniro in showtime look like old , familiar vaudeville partners .
you come away thinking not only that kate is n't very bright , but that she has n't been worth caring about and that maybe she , janine and molly -- an all-woman dysfunctional family -- deserve one another .
guy gets girl , guy loses girl , audience falls asleep .
depressingly thin and exhaustingly contrived .
it 's as sorry a mess as its director 's diabolical debut , mad cows .
i 'd rather watch a rerun of the powerpuff girls
the only question ... is to determine how well the schmaltz is manufactured -- to assess the quality of the manipulative engineering .
it 's impossible to even categorize this as a smutty guilty pleasure .
the movie does n't think much of its characters , its protagonist , or of us .
britney spears ' phoniness is nothing compared to the movie 's contrived , lame screenplay and listless direction .
the movie 's progression into rambling incoherence gives new meaning to the phrase ` fatal script error . '
... about as exciting to watch as two last-place basketball teams playing one another on the final day of the season .
he fails .
nicolas cage is n't the first actor to lead a group of talented friends astray , and this movie wo n't create a ruffle in what is already an erratic career .
for a film about action , ultimate x is the gabbiest giant-screen movie ever , bogging down in a barrage of hype .
one ca n't shake the feeling that crossroads is nothing more than an hour-and-a-half-long commercial for britney 's latest album .
it makes even elizabeth hurley seem graceless and ugly .
simply a re-hash of the other seven films .
hmmm ... might i suggest that the wayward wooden one end it all by stuffing himself into an electric pencil sharpener ?
death might be a release .
the movie 's messages are quite admirable , but the story is just too clichéd and too often strains credulity .
the film is way too full of itself ; it 's stuffy and pretentious in a give-me-an-oscar kind of way .
a perfect example of rancid , well-intentioned , but shamelessly manipulative movie making .
a movie version of a paint-by-numbers picture .
the feature-length stretch ... strains the show 's concept .
the characters , cast in impossibly contrived situations , are totally estranged from reality .
a small independent film suffering from a severe case of hollywood-itis .
an exercise in cynicism every bit as ugly as the shabby digital photography and muddy sound .
has all the scenic appeal of a cesspool .
kitschy , flashy , overlong soap opera .
its message has merit and , in the hands of a brutally honest individual like prophet jack , might have made a point or two regarding life .
sex is one of those films that aims to confuse .
first-time director joão pedro rodrigues ' unwillingness to define his hero 's background or motivations becomes more and more frustrating as the film goes on .
it sounds like another clever if pointless excursion into the abyss , and that 's more or less how it plays out .
more trifle than triumph .
it 's hard to believe these jokers are supposed to have pulled off four similar kidnappings before .
murphy and wilson actually make a pretty good team ... but the project surrounding them is distressingly rote .
the screenplay , co-written by director imogen kimmel , lacks the wit necessary to fully exploit the comic elements of the premise , making the proceedings more bizarre than actually amusing .
clumsy , obvious , preposterous , the movie will likely set the cause of woman warriors back decades .
a depressingly retrograde , ` post-feminist ' romantic comedy that takes an astonishingly condescending attitude toward women .
this is the kind of movie where the big scene is a man shot out of a cannon into a vat of ice cream .
many went to see the attraction for the sole reason that it was hot outside and there was air conditioning inside , and i do n't think that a.c. will help this movie one bit .
you 'll trudge out of the theater feeling as though you rode the zipper after eating a corn dog and an extra-large cotton candy .
when the fire burns out , we 've only come face-to-face with a couple dragons and that 's where the film ultimately fails .
klein , charming in comedies like american pie and dead-on in election , delivers one of the saddest action hero performances ever witnessed .
utter mush ... conceited pap .
despite its hawaiian setting , the science-fiction trimmings and some moments of rowdy slapstick , the basic plot of `` lilo '' could have been pulled from a tear-stained vintage shirley temple script .
... the whole thing succeeded only in making me groggy .
a frustrating ` tweener ' -- too slick , contrived and exploitative for the art houses and too cynical , small and decadent for the malls .
predictably soulless techno-tripe .
the filmmakers keep pushing the jokes at the expense of character until things fall apart .
the movie keeps coming back to the achingly unfunny phonce and his several silly subplots .
the film 's most improbable feat ?
there are some fairly unsettling scenes , but they never succeed in really rattling the viewer .
possibly the most irresponsible picture ever released by a major film studio .
the characters are paper thin and the plot is so cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects .
time stands still in more ways that one in clockstoppers , a sci-fi thriller as lazy as it is interminable .
what the audience feels is exhaustion , from watching a movie that is dark -lrb- dark green , to be exact -rrb- , sour , bloody and mean .
a devastating indictment of unbridled greed and materalism .
it feels like very light errol morris , focusing on eccentricity but failing , ultimately , to make something bigger out of its scrapbook of oddballs .
but this new jangle of noise , mayhem and stupidity must be a serious contender for the title .
there 's some good material in their story about a retail clerk wanting more out of life , but the movie too often spins its wheels with familiar situations and repetitive scenes .
the movie does n't generate a lot of energy .
it squanders chan 's uniqueness ; it could even be said to squander jennifer love hewitt !
pretty much sucks , but has a funny moment or two .
a singularly off-putting romantic comedy .
diaz wears out her welcome in her most charmless performance
the actors improvise and scream their way around this movie directionless , lacking any of the rollicking dark humor so necessary to make this kind of idea work on screen .
nearly all the fundamentals you take for granted in most films are mishandled here .
a lot of talent is wasted in this crass , low-wattage endeavor .
kaufman 's script is never especially clever and often is rather pretentious .
like coming into a long-running , well-written television series where you 've missed the first half-dozen episodes and probably wo n't see the next six .
the film is weighed down by supporting characters who are either too goodly , wise and knowing or downright comically evil .
it 's a visual rorschach test and i must have failed .
with mcconaughey in an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids , there 's not enough intelligence , wit or innovation on the screen to attract and sustain an older crowd .
despite juliet stevenon 's attempt to bring cohesion to pamela 's emotional roller coaster life , it is not enough to give the film the substance it so desperately needs .
what with all the blanket statements and dime-store ruminations on vanity , the worries of the rich and sudden wisdom , the film becomes a sermon for most of its running time .
wildly incompetent but brilliantly named half past dead -- or for seagal pessimists : totally past his prime .
the pretensions -- and disposable story -- sink the movie .
the script by vincent r. nebrida ... tries to cram too many ingredients into one small pot .
just as the lousy tarantino imitations have subsided , here comes the first lousy guy ritchie imitation .
it just does n't have anything really interesting to say .
while you have to admit it 's semi-amusing to watch robert deniro belt out `` when you 're a jet , you 're a jet all the way , '' it 's equally distasteful to watch him sing the lyrics to `` tonight . ''
a little too ponderous to work as shallow entertainment , not remotely incisive enough to qualify as drama , monsoon wedding serves mostly to whet one 's appetite for the bollywood films .
a movie that the less charitable might describe as a castrated cross between highlander and lolita .
seagal , who looks more like danny aiello these days , mumbles his way through the movie .
how do you make a movie with depth about a man who lacked any ?
sandra bullock and hugh grant make a great team , but this predictable romantic comedy should get a pink slip .
so muddled , repetitive and ragged that it says far less about the horrifying historical reality than about the filmmaker 's characteristic style .
`` analyze that '' is one of those crass , contrived sequels that not only fails on its own , but makes you second-guess your affection for the original .
i 'm sure the filmmakers found this a remarkable and novel concept , but anybody who has ever seen an independent film can report that it is instead a cheap cliché .
tiresomely derivative and hammily acted .
what should have been a cutting hollywood satire is instead about as fresh as last week 's issue of variety .
the notion of deleting emotion from people , even in an advanced prozac nation , is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus .
with the dog days of august upon us , think of this dog of a movie as the cinematic equivalent of high humidity .
no amount of arty theorizing -- the special effects are ` german-expressionist , ' according to the press notes -- can render it anything but laughable .
lisa rinzler 's cinematography may be lovely , but love liza 's tale itself virtually collapses into an inhalant blackout , maintaining consciousness just long enough to achieve callow pretension .
this cloying , voices-from-the-other-side story is hell .
alas , getting there is not even half the interest .
sheridan is painfully bad , a fourth-rate jim carrey who does n't understand the difference between dumb fun and just plain dumb .
maybe leblanc thought , `` hey , the movie about the baseball-playing monkey was worse . ''
full of bland hotels , highways , parking lots , with some glimpses of nature and family warmth , time out is a discreet moan of despair about entrapment in the maze of modern life .
director hoffman , his writer and kline 's agent should serve detention
it 's a mindless action flick with a twist -- far better suited to video-viewing than the multiplex .
as an entertainment destination for the general public , kung pow sets a new benchmark for lameness .
the truth about charlie is that it 's a brazenly misguided project .
with little visible talent and no energy , colin hanks is in bad need of major acting lessons and maybe a little coffee .
this movie feel more like a non-stop cry for attention , than an attempt at any kind of satisfying entertainment .
how this one escaped the lifetime network i 'll never know .
to some eyes this will seem like a recycling of clichés , an assassin 's greatest hits .
less funny than it should be and less funny than it thinks it is .
an achingly enthralling premise , the film is hindered by uneven dialogue and plot lapses .
the innate theatrics that provide its thrills and extreme emotions lose their luster when flattened onscreen .
sluggish , tonally uneven .
ultimately , the film amounts to being lectured to by tech-geeks , if you 're up for that sort of thing .
the film is undone by anachronistic quick edits and occasional jarring glimpses of a modern theater audience watching the events unfold .
russell lacks the visual panache , the comic touch , and perhaps the budget of sommers 's title-bout features .
`` interview '' loses its overall sense of mystery and becomes a tv episode rather than a documentary that you actually buy into .
the narrator and the other characters try to convince us that acting transfigures esther , but she 's never seen speaking on stage ; one feels cheated , and esther seems to remain an unchanged dullard .
guilty of the worst sin of attributable to a movie like this : it 's not scary in the slightest .
you can tell almost immediately that welcome to collinwood is n't going to jell .
its impressive images of crematorium chimney fires and stacks of dead bodies are undermined by the movie 's presentation , which is way too stagy .
there 's a heavy stench of ` been there , done that ' hanging over the film .
at every opportunity to do something clever , the film goes right over the edge and kills every sense of believability ... all you have left is a no-surprise series of explosions and violence while banderas looks like he 's not trying to laugh at how bad it
stress ` dumb . '
deadly dull , pointless meditation on losers in a gone-to-seed hotel .
where 's the movie here ?
an unsophisticated sci-fi drama that takes itself all too seriously .
whether this is art imitating life or life imitating art , it 's an unhappy situation all around .
it does n't take a rocket scientist to figure out that this is a mormon family movie , and a sappy , preachy one at that .
if you really want to understand what this story is really all about , you 're far better served by the source material .
mattei 's underdeveloped effort here is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination .
` the war of the roses , ' trailer-trash style .
originality is sorely lacking .
the film has a kind of hard , cold effect .
did we really need a remake of `` charade ? ''
the mystery of enigma is how a rich historical subject , combined with so much first-rate talent ... could have yielded such a flat , plodding picture .
... in the pile of useless actioners from mtv schmucks who do n't know how to tell a story for more than four minutes .
watching a brian depalma movie is like watching an alfred hitchcock movie after drinking twelve beers .
time out is as serious as a pink slip .
tykwer 's surface flash is n't just a poor fit with kieslowski 's lyrical pessimism ; it completely contradicts everything kieslowski 's work aspired to , including the condition of art .
-lrb- creates -rrb- the worst kind of mythologizing , the kind that sacrifices real heroism and abject suffering for melodrama .
director tom shadyac and star kevin costner glumly mishandle the story 's promising premise of a physician who needs to heal himself .
our culture is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender -- and i know this because i 've seen ` jackass : the movie . '
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 script is too mainstream and the psychology too textbook to intrigue .
if you recognize zeus -lrb- the dog from snatch -rrb- it will make you wish you were at home watching that movie instead of in the theater watching this one .
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 .
woefully pretentious .
mattei so completely loses himself to the film 's circular structure to ever offer any insightful discourse on , well , love in the time of money .
director douglas mcgrath takes on nickleby with all the halfhearted zeal of an 8th grade boy delving into required reading .
godard uses his characters -- if that 's not too glorified a term -- as art things , mouthpieces , visual motifs , blanks .
gaping plot holes sink this ` sub ' - standard thriller and drag audience enthusiasm to crush depth .
no surprises .
the film is so bad it does n't improve upon the experience of staring at a blank screen .
conforms itself with creating a game of ` who 's who ' ... where the characters ' moves are often more predictable than their consequences .
nights feels more like a quickie tv special than a feature film ... it 's not even a tv special you 'd bother watching past the second commercial break .
blue crush is as predictable as the tides .
we 're left with a story that tries to grab us , only to keep letting go at all the wrong moments .
with minimal imagination , you could restage the whole thing in your bathtub .
just consider what new best friend does not have , beginning with the minor omission of a screenplay .
instead of contriving a climactic hero 's death for the beloved-major - character-who-shall - remain-nameless , why not invite some genuine spontaneity into the film by having the evil aliens ' laser guns actually hit something for once ?
not only is it hokey , manipulative and as bland as wonder bread dipped in milk , but it also does the absolute last thing we need hollywood doing to us : it preaches .
the acting is n't much better .
the film runs on a little longer than it needs to -- muccino either does n't notice when his story ends or just ca n't tear himself away from the characters -- but it 's smooth and professional .
it 's just too bad the screenwriters eventually shoot themselves in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain .
its one-sidedness ... flirts with propaganda .
` synthetic ' is the best description of this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree .
too clumsy in key moments ... to make a big splash .
the château would have been benefited from a sharper , cleaner script before it went in front of the camera .
` the château is never quite able to overcome the cultural moat surrounding its ludicrous and contrived plot . '
in that setting , their struggle is simply too ludicrous and borderline insulting .
it 's rare to see a movie that takes such a speedy swan dive from `` promising '' to `` interesting '' to `` familiar '' before landing squarely on `` stupid '' .
romething 's really wrong with this ricture !
an uninspired preachy and clichéd war film .
el crimen del padre amaro would likely be most effective if used as a tool to rally anti-catholic protestors .
a processed comedy chop suey .
the film has a nearly terminal case of the cutes , and it 's neither as funny nor as charming as it thinks it is .
the screenplay flounders under the weight of too many story lines .
what starts off as a possible argentine american beauty reeks like a room stacked with pungent flowers .
serving sara should be served an eviction notice at every theater stuck with it .
what 's hard to understand is why anybody picked it up .
blue crush is so prolonged and boring it is n't even close to being the barn-burningly bad movie it promised it would be .
there must be an audience that enjoys the friday series , but i would n't be interested in knowing any of them personally .
some fine acting , but ultimately a movie with no reason for being .
and if you appreciate the one-sided theme to lawrence 's over-indulgent tirade , then knock yourself out and enjoy the big screen postcard that is a self-glorified martin lawrence lovefest .
it 's definitely not made for kids or their parents , for that matter , and i think even fans of sandler 's comic taste may find it uninteresting .
things really get weird , though not particularly scary : the movie is all portent and no content .
contains a few big laughs but many more that graze the funny bone or miss it altogether , in part because the consciously dumbed-down approach wears thin .
i ca n't recommend it .
poor ben bratt could n't find stardom if mapquest emailed him point-to-point driving directions .
by-the-numbers yarn .
nothing wrong with performances here , but the whiney characters bugged me .
while not all that bad of a movie , it 's nowhere near as good as the original .
a less-than-thrilling thriller .
would 've been nice if the screenwriters had trusted audiences to understand a complex story , and left off the film 's predictable denouement .
you 'll just have your head in your hands wondering why lee 's character did n't just go to a bank manager and save everyone the misery .
it 's kind of sad that so many people put so much time and energy into this turkey .
-lrb- davis -rrb- wants to cause his audience an epiphany , yet he refuses to give us real situations and characters .
it all looks and plays like a $ 40 million version of a game you 're more likely to enjoy on a computer .
van wilder has a built-in audience , but only among those who are drying out from spring break and are still unconcerned about what they ingest .
forget the psychology 101 study of romantic obsession and just watch the procession of costumes in castles and this wo n't seem like such a bore .
there 's no excuse for following up a delightful , well-crafted family film with a computer-generated cold fish .
one scene after another in this supposedly funny movie falls to the floor with a sickening thud .
`` -lrb- hopkins -rrb- does n't so much phone in his performance as fax it .
no big whoop , nothing new to see , zero thrills , too many flashbacks and a choppy ending make for a bad film .
wedding feels a bit anachronistic .
it 's like rocky and bullwinkle on speed , but that 's neither completely enlightening , nor does it catch the intensity of the movie 's strangeness .
weighted down with slow , uninvolving storytelling and flat acting .
too infuriatingly quirky and taken with its own style .
the most opaque , self-indulgent and just plain goofy an excuse for a movie as you can imagine .
sadly , full frontal plays like the work of a dilettante .
the tuxedo was n't just bad ; it was , as my friend david cross would call it , ` hungry-man portions of bad ' .
... a complete shambles of a movie so sloppy , so uneven , so damn unpleasant that i ca n't believe any viewer , young or old , would have a good time here .
it 's not only dull because we 've seen -lrb- eddie -rrb- murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed .
crush could be the worst film a man has made about women since valley of the dolls .
... grows decidedly flimsier with its many out-sized , out of character and logically porous action set pieces .
as a feature-length film , it wears out its welcome as tryingly as the title character .
control-alt-delete simone as quickly as possible
nevertheless , it still seems endless .
there 's a persistent theatrical sentiment and a woozy quality to the manner of the storytelling , which undercuts the devastatingly telling impact of utter loss personified in the film 's simple title .
for a film that 's being advertised as a comedy , sweet home alabama is n't as funny as you 'd hoped .
this hastily mounted production exists only to capitalize on hopkins ' inclination to play hannibal lecter again , even though harris has no immediate inclination to provide a fourth book .
but it has an ambition to say something about its subjects , but not a willingness .
please , someone , stop eric schaeffer before he makes another film .
sheridan had a wonderful account to work from , but , curiously , he waters it down , turning grit and vulnerability into light reading .
a loud , low-budget and tired formula film that arrives cloaked in the euphemism ` urban drama . '
flat , misguided comedy .
this overproduced piece of dreck is shockingly bad and absolutely unnecessary .
i never thought i 'd say this , but i 'd much rather watch teens poking their genitals into fruit pies !
i suspect this is the kind of production that would have been funnier if the director had released the outtakes theatrically and used the film as a bonus feature on the dvd .
plodding , poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo .
... plays like a badly edited , 91-minute trailer -lrb- and -rrb- the director ca n't seem to get a coherent rhythm going .
kapur 's contradictory feelings about his material result in a movie that works against itself .
this is an action movie with an action icon who 's been all but decommissioned .
` cq may one day be fondly remembered as roman coppola 's brief pretentious period before going on to other films that actually tell a story worth caring about
who cares ? -rrb- .
neither revelatory nor truly edgy -- merely crassly flamboyant and comedically labored .
the first question to ask about bad company is why anthony hopkins is in it .
it 's difficult to feel anything much while watching this movie , beyond mild disturbance or detached pleasure at the acting .
a distinctly mixed bag , the occasional bursts of sharp writing alternating with lots of sloppiness and the obligatory moments of sentimental ooze .
there 's a great deal of corny dialogue and preposterous moments .
curiously , super troopers suffers because it does n't have enough vices to merit its 103-minute length .
as exciting as all this exoticism might sound to the typical pax viewer , the rest of us will be lulled into a coma .
watch barbershop again if you 're in need of a cube fix -- this is n't worth sitting through .
an awkwardly garish showcase that diverges from anything remotely probing or penetrating .
certain to be distasteful to children and adults alike , eight crazy nights is a total misfire .
just a kiss is a just a waste .
murder by numbers just does n't add up .
all three descriptions suit evelyn , a besotted and obvious drama that tells us nothing new .
an uneven mix of dark satire and childhood awakening .
the movie is about as humorous as watching your favorite pet get buried alive .
bears is even worse than i imagined a movie ever could be .
dramatically lackluster .
their contrast is neither dramatic nor comic -- it 's just a weird fizzle .
all the characters are clinically depressed and have abandoned their slim hopes and dreams .
tartakovsky 's team has some freakish powers of visual charm , but the five writers slip into the modern rut of narrative banality .
tries too hard to be funny in a way that 's too loud , too goofy and too short of an attention span .
you emerge dazed , confused as to whether you 've seen pornography or documentary .
lucy 's a dull girl , that 's all .
directed without the expected flair or imagination by hong kong master john woo , windtalkers airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length .
the story has some nice twists but the ending and some of the back-story is a little tired .
is an inexpressible and drab wannabe looking for that exact niche .
the mothman prophecies , which is mostly a bore , seems to exist only for its climactic setpiece .
... a cheap , ludicrous attempt at serious horror .
an unremittingly ugly movie to look at , listen to , and think about , it is quite possibly the sturdiest example yet of why the dv revolution has cheapened the artistry of making a film .
but one thing 's for sure : it never comes close to being either funny or scary .
the movie eventually snaps under the strain of its plot contrivances and its need to reassure .
the holes in this film remain agape -- holes punched through by an inconsistent , meandering , and sometimes dry plot .
it follows the blair witch formula for an hour , in which we 're told something creepy and vague is in the works , and then it goes awry in the final 30 minutes .
this is not a jackie chan movie .
lacks the visual flair and bouncing bravado that characterizes better hip-hop clips and is content to recycle images and characters that were already tired 10 years ago .
a timid , soggy near miss .
i admire it and yet can not recommend it , because it overstays its natural running time .
thoroughly engrossing and ultimately tragic .
i can analyze this movie in three words : thumbs friggin ' down .
if only it were , well , funnier .
it is messy , uncouth , incomprehensible , vicious and absurd .
charly comes off as emotionally manipulative and sadly imitative of innumerable past love story derisions .
kung pow seems like some futile concoction that was developed hastily after oedekerk and his fellow moviemakers got through crashing a college keg party .
its premise is smart , but the execution is pretty weary .
for those for whom the name woody allen was once a guarantee of something fresh , sometimes funny , and usually genuinely worthwhile , hollywood ending is a depressing experience
somewhere inside the mess that is world traveler , there is a mediocre movie trying to get out .
the problem with the bread , my sweet is that it 's far too sentimental .
loud , chaotic and largely unfunny .
the main characters are simply named the husband , the wife and the kidnapper , emphasizing the disappointingly generic nature of the entire effort .
a movie to forget
rife with nutty cliches and far too much dialogue .
starts out with tremendous promise , introducing an intriguing and alluring premise , only to fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter .
an artful yet depressing film that makes a melodramatic mountain out of the molehill of a missing bike .
the movie ends with outtakes in which most of the characters forget their lines and just utter ` uhhh , ' which is better than most of the writing in the movie .
if that does n't clue you in that something 's horribly wrong , nothing will .
this loud and thoroughly obnoxious comedy about a pair of squabbling working-class spouses is a deeply unpleasant experience .
it 's not an easy one to review .
ultimately , in the history of the academy , people may be wondering what all that jazz was about `` chicago '' in 2002 .
this is for the most part a useless movie , even with a great director at the helm .
for a movie about the power of poetry and passion , there is precious little of either .
unfortunately , we 'd prefer a simple misfire .
an awful snooze .
does n't really add up to much .
watching `` ending '' is too often like looking over the outdated clothes and plastic knickknacks at your neighbor 's garage sale .
cox offers plenty of glimpses at existing photos , but there are no movies of nijinsky , so instead the director treats us to an aimless hodgepodge .
its weighty themes are too grave for youngsters , but the story is too steeped in fairy tales and other childish things to appeal much to teenagers .
nothing happens , and it happens to flat characters .
leaves us wondering less about its ideas and more about its characterization of hitler and the contrived nature of its provocative conclusion .
`` white oleander , '' the movie , is akin to a reader 's digest condensed version of the source material .
schnieder bounces around with limp wrists , wearing tight tummy tops and hip huggers , twirling his hair on his finger and assuming that 's enough to sustain laughs ...
the problem is that van wilder does little that is actually funny with the material .
no cliche escapes the perfervid treatment of gang warfare called ces wild .
comes off like a bad imitation of the bard .
the sweetest thing leaves an awful sour taste .
resembles a soft porn brian de palma pastiche .
hollywood has taken quite a nosedive from alfred hitchcock 's imaginative flight to shyamalan 's self-important summer fluff .
this is standard crime drama fare ... instantly forgettable and thoroughly dull .
there 's a scientific law to be discerned here that producers would be well to heed : mediocre movies start to drag as soon as the action speeds up ; when the explosions start , they fall to pieces .
borstal boy represents the worst kind of filmmaking , the kind that pretends to be passionate and truthful but is really frustratingly timid and soggy .
the only entertainment you 'll derive from this choppy and sloppy affair will be from unintentional giggles -- several of them .
the good girl is a film in which the talent is undeniable but the results are underwhelming .
more of the same old garbage hollywood has been trying to pass off as acceptable teen entertainment for some time now .
the christ allegory does n't work because there is no foundation for it
romanek keeps adding flourishes -- artsy fantasy sequences -- that simply feel wrong .
i 'm not sure which half of dragonfly is worse : the part where nothing 's happening , or the part where something 's happening , but it 's stupid .
roman polanski directs the pianist like a surgeon mends a broken heart ; very meticulously but without any passion .
has lost some of the dramatic conviction that underlies the best of comedies ...
like a comedian who starts off promisingly but then proceeds to flop , comedian runs out of steam after a half hour .
one of those films where the characters inhabit that special annex of hell where adults behave like kids , children behave like adults and everyone screams at the top of their lungs no matter what the situation .
devotees of star trek ii : the wrath of khan will feel a nagging sense of deja vu , and the grandeur of the best next generation episodes is lacking .
the punch lines that miss , unfortunately , outnumber the hits by three-to-one .
those seeking a definitive account of eisenstein 's life would do better elsewhere .
naipaul fans may be disappointed .
attal pushes too hard to make this a comedy or serious drama .
in any case , i would recommend big bad love only to winger fans who have missed her since 1995 's forget paris .
if there 's a heaven for bad movies , deuces wild is on its way .
the thing about guys like evans is this : you 're never quite sure where self-promotion ends and the truth begins .
i found myself growing more and more frustrated and detached as vincent became more and more abhorrent .
it 's like an all-star salute to disney 's cheesy commercialism .
like a bad improvisation exercise , the superficially written characters ramble on tediously about their lives , loves and the art they 're struggling to create .
though her fans will assuredly have their funny bones tickled , others will find their humor-seeking dollars best spent elsewhere .
the first fatal attraction was vile enough .
and as with most late-night bull sessions , eventually the content is n't nearly as captivating as the rowdy participants think it is .
it 's just plain lurid when it is n't downright silly .
friday after next is the kind of film that could only be made by african-americans because of its broad racial insensitivity towards african-americans .
this dubious product of a college-spawned -lrb- colgate u. -rrb- comedy ensemble known as broken lizard plays like a mix of cheech and chong and chips .
such a wildly uneven hit-and-miss enterprise , you ca n't help suspecting that it was improvised on a day-to-day basis during production .
the new film of anton chekhov 's the cherry orchard puts the ` ick ' in ` classic . '
poor editing , bad bluescreen , and ultra-cheesy dialogue highlight the radical action .
if welles was unhappy at the prospect of the human race splitting in two , he probably would n't be too crazy with his great-grandson 's movie splitting up in pretty much the same way .
well made but uninvolving , bloodwork is n't a terrible movie , just a stultifyingly obvious one -- an unrewarding collar for a murder mystery .
... expands the horizons of boredom to the point of collapse , turning into a black hole of dullness , from which no interesting concept can escape .
as steamy as last week 's pork dumplings .
another week , another gross-out college comedy -- ugh .
a laughable -- or rather , unlaughable -- excuse for a film .
too silly to take seriously .
low comedy does n't come much lower .
ultimately the , yes , snail-like pacing and lack of thematic resonance make the film more silly than scary , like some sort of martha stewart decorating program run amok .
sewer rats could watch this movie and be so skeeved out that they 'd need a shower .
there 's an excellent 90-minute film here ; unfortunately , it runs for 170 .
no cute factor here ... not that i mind ugly ; the problem is he has no character , loveable or otherwise .
suffers from its timid parsing of the barn-side target of sons trying to breach gaps in their relationships with their fathers .
it 's a frankenstein-monster of a film that does n't know what it wants to be .
an incredibly narrow in-joke targeted to the tiniest segment of an already obscure demographic .
most of the problems with the film do n't derive from the screenplay , but rather the mediocre performances by most of the actors involved
deuces wild treads heavily into romeo and juliet\/west side story territory , where it plainly has no business going .
there is no psychology here , and no real narrative logic -- just a series of carefully choreographed atrocities , which become strangely impersonal and abstract .
everything about it from the bland songs to the colorful but flat drawings is completely serviceable and quickly forgettable .
a few pieces of the film buzz and whir ; very little of it actually clicks .
ah-nuld 's action hero days might be over .
the movie has a script -lrb- by paul pender -rrb- made of wood , and it 's relentlessly folksy , a procession of stagy set pieces stacked with binary oppositions .
even accepting this in the right frame of mind can only provide it with so much leniency .
they threw loads of money at an idea that should 've been so much more even if it was only made for teenage boys and wrestling fans .
a movie more to be prescribed than recommended -- as visually bland as a dentist 's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms .
so bland and utterly forgettable that it might as well have been titled generic jennifer lopez romantic comedy .
a poky and pseudo-serious exercise in sham actor workshops and an affected malaise .
there 's got to be a more graceful way of portraying the devastation of this disease .
adults , other than the parents ... will be hard pressed to succumb to the call of the wild .
here , alas , it collapses like an overcooked soufflé .
plays like one long , meandering sketch inspired by the works of john waters and todd solondz , rather than a fully developed story .
snow dogs finds its humour in a black man getting humiliated by a pack of dogs who are smarter than him
the hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone .
much like its easily dismissive take on the upscale lifestyle , there is n't much there here .
a characteristically engorged and sloppy coming-of-age movie .
rob schneider 's infantile cross-dressing routines fill the hot chick , the latest gimmick from this unimaginative comedian .
it 's so devoid of joy and energy it makes even jason x ... look positively shakesperean by comparison .
an ugly , pointless , stupid movie .
a big meal of cliches that the talented cast generally chokes on .
... what a banal bore the preachy circuit turns out to be
goes on and on to the point of nausea .
master of disguise runs for only 71 minutes and feels like three hours .
you 'll feel like you ate a reeses without the peanut butter ... '
broder 's screenplay is shallow , offensive and redundant , with pitifully few real laughs .
looks more like a travel-agency video targeted at people who like to ride bikes topless and roll in the mud than a worthwhile glimpse of independent-community guiding lights .
after an hour and a half of wondering -- sometimes amusedly , sometimes impatiently -- just what this strenuously unconventional movie is supposed to be , you discover that the answer is as conventional as can be .
a puzzle whose pieces do not fit .
after the first 10 minutes , which is worth seeing , the movie sinks into an abyss of clichés , depression and bad alternative music .
no such thing breaks no new ground and treads old turf like a hippopotamus ballerina .
it made me realize that we really have n't had a good cheesy b-movie playing in theaters since ... well ... since last week 's reign of fire .
ultimately this is a frustrating patchwork : an uneasy marriage of louis begley 's source novel -lrb- about schmidt -rrb- and an old payne screenplay .
nothing more than a stifling morality tale dressed up in peekaboo clothing .
this is the sort of low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes .
every joke is repeated at least four times .
the gags , and the script , are a mixed bag .
and adults will at least have a dream image of the west to savor whenever the film 's lamer instincts are in the saddle .
an overstylized , puréed mélange of sex , psychology , drugs and philosophy .
a documentary to make the stones weep -- as shameful as it is scary .
starts out ballsy and stylish but fails to keep it up and settles into clichés .
the film feels formulaic , its plot and pacing typical hollywood war-movie stuff , while the performances elicit more of a sense of deja vu than awe .
-lrb- i -rrb- t 's certainly laudable that the movie deals with hot-button issues in a comedic context , but barbershop is n't as funny as it should be .
but the second half of the movie really goes downhill .
this misty-eyed southern nostalgia piece , in treading the line between sappy and sanguine , winds up mired in tear-drenched quicksand .
the only fun part of the movie is playing the obvious game .
an inconsequential , barely there bit of piffle .
although fairly involving as far as it goes , the film does n't end up having much that is fresh to say about growing up catholic or , really , anything .
its inescapable absurdities are tantamount to insulting the intelligence of anyone who has n't been living under a rock -lrb- since sept. 11 -rrb- .
the movie generates plot points with a degree of randomness usually achieved only by lottery drawing .
there may have been a good film in `` trouble every day , '' but it is not what is on the screen .
the result is an ` action film ' mired in stasis .
that 's because relatively nothing happens .
an authentically vague , but ultimately purposeless , study in total pandemonium .
but they do n't fit well together and neither is well told .
like most movies about the pitfalls of bad behavior ... circuit gets drawn into the party .
... there 's a choppy , surface-effect feeling to the whole enterprise .
the movie does such an excellent job of critiquing itself at every faltering half-step of its development that criticizing feels more like commiserating .
plays like a series of vignettes -- clips of a film that are still looking for a common through-line .
the film does n't have enough innovation or pizazz to attract teenagers , and it lacks the novel charm that made spy kids a surprising winner with both adults and younger audiences .
all the movie 's narrative gymnastics ca n't disguise the fact that it 's inauthentic at its core and that its story just is n't worth telling .
though impostor deviously adopts the guise of a modern motion picture , it too is a bomb .
one key problem with these ardently christian storylines is that there is never any question of how things will turn out .
`` bad '' is the operative word for `` bad company , '' and i do n't mean that in a good way .
seriously , rent the disney version .
it 's difficult to imagine that a more confused , less interesting and more sloppily made film could possibly come down the road in 2002 .
the only pain you 'll feel as the credits roll is your stomach grumbling for some tasty grub .
if you go , pack your knitting needles .
call me a cold-hearted curmudgeon for not being able to enjoy a mindless action movie , but i believe a movie can be mindless without being the peak of all things insipid .
an ill-conceived jumble that 's not scary , not smart and not engaging .
what we get in feardotcom is more like something from a bad clive barker movie .
too much of the movie feels contrived , as if the filmmakers were worried the story would n't work without all those gimmicks .
austin powers in goldmember is a cinematic car wreck , a catastrophic collision of tastelessness and gall that nevertheless will leave fans clamoring for another ride .
-lrb- t -rrb- oo many of these gross out scenes ...
when it comes out on video , then it 's the perfect cure for insomnia .
killing time , that 's all that 's going on here .
the dialogue is very choppy and monosyllabic despite the fact that it is being dubbed .
it would n't matter so much that this arrogant richard pryor wannabe 's routine is offensive , puerile and unimaginatively foul-mouthed if it was at least funny .
... for all its social and political potential , state property does n't end up being very inspiring or insightful .
unwieldy contraption .
a sub-formulaic slap in the face to seasonal cheer .
feral and uncomfortable .
-lrb- a -rrb- crushing disappointment .
i like my christmas movies with more elves and snow and less pimps and ho 's .
seems like someone going through the motions .
despite terrific special effects and funnier gags , harry potter and the chamber of secrets finds a way to make j.k. rowling 's marvelous series into a deadly bore .
fans of plympton 's shorts may marginally enjoy the film , but it is doubtful this listless feature will win him any new viewers .
` this movie sucks . '
... a bland , pretentious mess .
the film never rises above a conventional , two dimension tale
... if it had been only half-an-hour long or a tv special , the humor would have been fast and furious -- at ninety minutes , it drags .
a superfluous sequel ... plagued by that old familiar feeling of ` let 's get this thing over with ' : everyone has shown up at the appointed time and place , but visible enthusiasm is mighty hard to find .
sets animation back 30 years , musicals back 40 years and judaism back at least 50 .
a listless and desultory affair .
a wannabe comedy of manners about a brainy prep-school kid with a mrs. robinson complex founders on its own preciousness -- and squanders its beautiful women .
nothing about them is attractive .
-lrb- swimfan -rrb- falls victim to sloppy plotting , an insultingly unbelievable final act and a villainess who is too crazy to be interesting .
loosely speaking , we 're in all of me territory again , and , strictly speaking , schneider is no steve martin .
predictably melodramatic .
the whole talking-animal thing is grisly .
the entire movie is so formulaic and forgettable that it 's hardly over before it begins to fade from memory .
more a gunfest than a rock concert .
a derivative collection of horror and sci-fi cliches .
nelson 's intentions are good , but the end result does no justice to the story itself .
aggressive self-glorification and a manipulative whitewash .
fails to convince the audience that these brats will ever be anything more than losers .
very stupid and annoying .
an empty exercise , a florid but ultimately vapid crime melodrama with lots of surface flash but little emotional resonance .
the script is a tired one , with few moments of joy rising above the stale material .
make like the title and dodge this one .
the lousy john q all but spits out denzel washington 's fine performance in the title role .
officially , it is twice as bestial but half as funny .
a film that suffers because of its many excesses .
the leads we are given here are simply too bland to be interesting .
staggers between flaccid satire and what is supposed to be madcap farce .
a distinctly minor effort that will be seen to better advantage on cable , especially considering its barely feature-length running time of one hour .
the comedy death to smoochy is a rancorous curiosity : a movie without an apparent audience .
turns a potentially interesting idea into an excruciating film school experience that plays better only for the film 's publicists or for people who take as many drugs as the film 's characters
one of those strained caper movies that 's hardly any fun to watch and begins to vaporize from your memory minutes after it ends .
a film that loses sight of its own story .
where tom green stages his gags as assaults on america 's knee-jerk moral sanctimony , jackass lacks aspirations of social upheaval .
these self-styled athletes have banged their brains into the ground so frequently and furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation .
a loud , ugly , irritating movie without any of its satirical salvos hitting a discernible target .
never decides whether it wants to be a black comedy , drama , melodrama or some combination of the three .
those 24-and-unders looking for their own caddyshack to adopt as a generational signpost may have to keep on looking .
sadly , ` garth ' has n't progressed as nicely as ` wayne . '
the story of trouble every day ... is so sketchy it amounts to little more than preliminary notes for a science-fiction horror film , and the movie 's fragmentary narrative style makes piecing the story together frustrating difficult .
-lrb- t -rrb- he ideas of revolution # 9 are more compelling than the execution
most of the information has already appeared in one forum or another and , no matter how broomfield dresses it up , it tends to speculation , conspiracy theories or , at best , circumstantial evidence .
consider the film a celluloid litmus test for the intellectual and emotional pedigree of your date and a giant step backward for a director i admire .
imagine -lrb- if possible -rrb- a pasolini film without passion or politics , or an almodovar movie without beauty or humor , and you have some idea of the glum , numb experience of watching o fantasma .
just plain bad .
although it tries to be much more , it 's really just another major league .
when the screenwriter responsible for one of the worst movies of one year directs an equally miserable film the following year , you 'd have a hard time believing it was just coincidence .
director elie chouraqui , who co-wrote the script , catches the chaotic horror of war , but why bother if you 're going to subjugate truth to the tear-jerking demands of soap opera ?
this is a movie so insecure about its capacity to excite that it churns up not one but two flagrantly fake thunderstorms to underscore the action .
if i want music , i 'll buy the soundtrack .
sometimes makes less sense than the bruckheimeresque american action flicks it emulates .
a dark comedy that goes for sick and demented humor simply to do so .
lazily directed by charles stone iii ... from a leaden script by matthew cirulnick and novelist thulani davis .
the dialogue is cumbersome , the simpering soundtrack and editing more so .
this is a film living far too much in its own head .
pascale bailly 's rom-com provides amélie 's audrey tautou with another fabuleux destin -- i.e. , a banal spiritual quest .
imagine o. henry 's the gift of the magi relocated to the scuzzy underbelly of nyc 's drug scene .
any reasonably creative eighth-grader could have written a more credible script , though with the same number of continuity errors .
go , girls , right down the reality drain .
staggeringly dreadful romance .
thoughtless , random , superficial humour and a lot of very bad scouse accents
the problem , amazingly enough , is the screenplay .
so aggressively cheery that pollyana would reach for a barf bag .
a worthy idea , but the uninspired scripts , acting and direction never rise above the level of an after-school tv special .
pompous and garbled .
there 's a whole heap of nothing at the core of this slight coming-of-age\/coming-out tale .
it is supremely unfunny and unentertaining to watch middle-age and older men drink to excess , piss on trees , b.s. one another and put on a show in drag .
a sleep-inducing thriller with a single twist that everyone except the characters in it can see coming a mile away .
cuba gooding jr. valiantly mugs his way through snow dogs , but even his boisterous energy fails to spark this leaden comedy .
constantly slips from the grasp of its maker .
simplistic , silly and tedious .
we just do n't really care too much about this love story .
for a film about explosions and death and spies , `` ballistic : ecks vs. sever '' seems as safe as a children 's film .
well , in some of those , the mother deer even dies .
less than fresh .
a 75-minute sample of puerile rubbish that is listless , witless , and devoid of anything resembling humor .
it 's mired in a shabby script that piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of -lrb- woo 's -rrb- best work .
they just have problems , which are neither original nor are presented in convincing way .
mindless and boring martial arts and gunplay with too little excitement and zero compelling storyline .
i think it was plato who said , ' i think , therefore i know better than to rush to the theatre for this one . '
the soul-searching deliberateness of the film , although leavened nicely with dry absurdist wit , eventually becomes too heavy for the plot .
is n't it a bit early in his career for director barry sonnenfeld to do a homage to himself ?
this stuck pig of a movie flails limply between bizarre comedy and pallid horror .
white has n't developed characters so much as caricatures , one-dimensional buffoons that get him a few laughs but nothing else .
hawke 's film , a boring , pretentious waste of nearly two hours , does n't tell you anything except that the chelsea hotel today is populated by whiny , pathetic , starving and untalented artistes .
gets bogged down by an overly sillified plot and stop-and-start pacing .
some body often looks like an episode of the tv show blind date , only less technically proficient and without the pop-up comments .
`` sorority boys '' was funnier , and that movie was pretty bad .
silly stuff , all mixed up together like a term paper from a kid who ca n't quite distinguish one sci-fi work from another .
the rules of attraction gets us too drunk on the party favors to sober us up with the transparent attempts at moralizing .
worthless , from its pseudo-rock-video opening to the idiocy of its last frames .
one of those films that started with a great premise and then just fell apart .
when you find yourself rooting for the monsters in a horror movie , you know the picture is in trouble .
no one can doubt the filmmakers ' motives , but the guys still feels counterproductive .
it just goes to show , an intelligent person is n't necessarily an admirable storyteller .
moves in such odd plot directions and descends into such message-mongering moralism that its good qualities are obscured .
too often , son of the bride becomes an exercise in trying to predict when a preordained `` big moment '' will occur and not `` if . ''
a muddled limp biscuit of a movie , a vampire soap opera that does n't make much sense even on its own terms .
why `` they '' were here and what `` they '' wanted and quite honestly , i did n't care .
off the hook is overlong and not well-acted , but credit writer-producer-director adam watstein with finishing it at all .
`` freaky friday , '' it 's not .
an essentially awkward version of the lightweight female empowerment picture we 've been watching for decades
this is one baaaaaaaaad movie .
borrows from other movies like it in the most ordinary and obvious fashion .
appropriately cynical social commentary aside , # 9 never quite ignites .
the story alone could force you to scratch a hole in your head .
this u-boat does n't have a captain .
it 's leaden and predictable , and laughs are lacking .
the importance of being earnest movie seems to be missing a great deal of the acerbic repartee of the play . ''
an incoherent jumble of a film that 's rarely as entertaining as it could have been .
instead of panoramic sweep , kapur gives us episodic choppiness , undermining the story 's emotional thrust .
for those of us who respond more strongly to storytelling than computer-generated effects , the new star wars installment has n't escaped the rut dug by the last one .
steve oedekerk is , alas , no woody allen .
putting the primitive murderer inside a high-tech space station unleashes a pandora 's box of special effects that run the gamut from cheesy to cheesier to cheesiest .
with the cheesiest monsters this side of a horror spoof , which they is n't , it is more likely to induce sleep than fright .
though tom shadyac 's film kicks off spookily enough , around the halfway mark it takes an abrupt turn into glucose sentimentality and laughable contrivance .
with jump cuts , fast editing and lots of pyrotechnics , yu clearly hopes to camouflage how bad his movie is .
one of the most depressing movie-going experiences i can think of is to sit through about 90 minutes of a so-called ` comedy ' and not laugh once .
is that it 's a crime movie made by someone who obviously knows nothing about crime .
shyamalan should stop trying to please his mom .
kung pow is oedekerk 's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that .
wimps out by going for that pg-13 rating , so the more graphic violence is mostly off-screen and the sexuality is muted .
the directing and story are disjointed , flaws that have to be laid squarely on taylor 's doorstep .
you 'll cry for your money back .
the package in which this fascinating -- and timely -- content comes wrapped is disappointingly generic .
this little film is so slovenly done , so primitive in technique , that it ca n't really be called animation .
another boorish movie from the i-heard-a-joke - at-a-frat-party school of screenwriting .
a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise .
the code talkers deserved better than a hollow tribute .
what you expect is just what you get ... assuming the bar of expectations has n't been raised above sixth-grade height .
an entertainment so in love with its overinflated mythology that it no longer recognizes the needs of moviegoers for real characters and compelling plots .
two badly interlocked stories drowned by all too clever complexity .
aloof and lacks any real raw emotion , which is fatal for a film that relies on personal relationships .
it 's all surface psychodramatics .
it 's virtually impossible to like any of these despicable characters .
replacing john carpenter 's stylish tracking shots is degraded , handheld blair witch video-cam footage .
a fake street drama that keeps telling you things instead of showing them .
like showgirls and glitter , the most entertaining moments here are unintentional .
the story is predictable , the jokes are typical sandler fare , and the romance with ryder is puzzling .
no amount of burning , blasting , stabbing , and shooting can hide a weak script .
family togetherness takes a back seat to inter-family rivalry and workplace ambition ... whole subplots have no explanation or even plot relevance .
stiff and schmaltzy and clumsily directed .
cassavetes thinks he 's making dog day afternoon with a cause , but all he 's done is to reduce everything he touches to a shrill , didactic cartoon .
` dragonfly ' dwells on crossing-over mumbo jumbo , manipulative sentimentality , and sappy dialogue .
rock 's stand-up magic wanes .
plays like some corny television production from a bygone era
it 's like a drive-by .
one of the worst movies of the year .
it 's rare that a movie can be as intelligent as this one is in every regard except its storyline ; everything that 's good is ultimately scuttled by a plot that 's just too boring and obvious .
this mistaken-identity picture is so film-culture referential that the final product is a ghost .
the histrionic muse still eludes madonna and , playing a charmless witch , she is merely a charmless witch .
the result , however well-intentioned , is ironically just the sort of disposable , kitchen-sink homage that illustrates why the whole is so often less than the sum of its parts in today 's hollywood .
the catch is that they 're stuck with a script that prevents them from firing on all cylinders .
one of those so-so films that could have been much better .
has all the complexity and realistic human behavior of an episode of general hospital .
as original and insightful as last week 's episode of behind the music .
... this story gets sillier , not scarier , as it goes along ...
... most viewers will wish there had been more of the `` queen '' and less of the `` damned . ''
insomnia loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion .
this would-be ` james bond for the extreme generation ' pic is one big , dumb action movie .
when it comes to the battle of hollywood vs. woo , it looks like woo 's a p.o.w.
evelyn may be based on a true and historically significant story , but the filmmakers have made every effort to disguise it as an unimaginative screenwriter 's invention .
characterisation has been sacrificed for the sake of spectacle .
is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .
cheap , vulgar dialogue and a plot that crawls along at a snail 's pace .
been there done that .
something has been lost in the translation ... another routine hollywood frightfest in which the slack execution italicizes the absurdity of the premise .
despite some charm and heart , this quirky soccer import is forgettable
-- that the ` true story ' by which all the queen 's men is allegedly `` inspired '' was a lot funnier and more deftly enacted than what 's been cobbled together onscreen .
you could hate it for the same reason .
gaghan captures the half-lit , sometimes creepy intimacy of college dorm rooms , a subtlety that makes the silly , over-the-top coda especially disappointing .
julie davis is the kathie lee gifford of film directors , sadly proving once again ego does n't always go hand in hand with talent .
solondz may be convinced that he has something significant to say , but he is n't talking a talk that appeals to me .
a beautifully shot but dull and ankle-deep ` epic . '
stale , futile scenario .
in addition to sporting one of the worst titles in recent cinematic history , ballistic : ecks vs. sever also features terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and a rather dull , unimaginative car chase .
full of the kind of obnoxious chitchat that only self-aware neurotics engage in .
a simpler , leaner treatment would have been preferable ; after all , being about nothing is sometimes funnier than being about something .
nothing but an episode of smackdown !
kirshner and monroe seem to be in a contest to see who can out-bad-act the other .
the only reason you should see this movie is if you have a case of masochism and an hour and a half to blow .
it 's pretentious in a way that verges on the amateurish .
a plodding teen remake that 's so mechanical you can smell the grease on the plot twists .
it 's drab .
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 .
a thriller without thrills and a mystery devoid of urgent questions .
watching this film , what we feel is n't mainly suspense or excitement .
violent , vulgar and forgettably entertaining .
like many such biographical melodramas , it suffers from the awkwardness that results from adhering to the messiness of true stories .
as a story of dramatic enlightenment , the screenplay by billy ray and terry george leaves something to be desired .
plotless collection of moronic stunts is by far the worst movie of the year .
with all the sympathy , empathy and pity fogging up the screen ... his secret life enters the land of unintentional melodrama and tiresome love triangles .
like a fish that 's lived too long , austin powers in goldmember has some unnecessary parts and is kinda wrong in places .
tries so hard to be quirky and funny that the strain is all too evident .
the self-serious equilibrium makes its point too well ; a movie , like life , is n't much fun without the highs and lows .
the adventure does n't contain half the excitement of balto , or quarter the fun of toy story 2 .
... the maudlin way its story unfolds suggests a director fighting against the urge to sensationalize his material .
beware the quirky brit-com .
in theory , a middle-aged romance pairing clayburgh and tambor sounds promising , but in practice it 's something else altogether -- clownish and offensive and nothing at all like real life .
it still feels like a prison stretch .
the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism .
her fans walked out muttering words like `` horrible '' and `` terrible , '' but had so much fun dissing the film that they did n't mind the ticket cost .
a supernatural mystery that does n't know whether it wants to be a suspenseful horror movie or a weepy melodrama .
but the film itself is ultimately quite unengaging .
a sleep-inducingly slow-paced crime drama with clumsy dialogue , heavy-handed phoney-feeling sentiment , and an overly-familiar set of plot devices .
an awful movie that will only satisfy the most emotionally malleable of filmgoers .
i guess it just goes to show that if you give a filmmaker an unlimited amount of phony blood , nothing good can happen .
time of favor could have given audiences the time of day by concentrating on the elements of a revealing alienation among a culture of people who sadly are at hostile odds with one another through recklessness and retaliation .
a waste of fearless purity in the acting craft .
suffers from unlikable characters and a self-conscious sense of its own quirky hipness .
talky , artificial and opaque ... an interesting technical exercise , but a tedious picture .
filled with low-brow humor , gratuitous violence and a disturbing disregard for life .
the great pity is that those responsible did n't cut their losses -- and ours -- and retitle it the adventures of direct-to-video nash , and send it to its proper home .
beneath the uncanny , inevitable and seemingly shrewd facade of movie-biz farce ... lies a plot cobbled together from largely flat and uncreative moments .
more tiring than anything .
laconic and very stilted in its dialogue , this indie flick never found its audience , probably because it 's extremely hard to relate to any of the characters .
uzumaki 's interesting social parallel and defiant aesthetic seems a prostituted muse ...
if you 're looking for a story , do n't bother .
reign of fire never comes close to recovering from its demented premise , but it does sustain an enjoyable level of ridiculousness .
other than a mildly engaging central romance , hospital is sickly entertainment at best and mind-destroying cinematic pollution at worst .
the movie is like scorsese 's mean streets redone by someone who ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot .
there is nothing funny in this every-joke-has - been-told-a - thousand-times - before movie .
the mantra behind the project seems to have been ` it 's just a kids ' flick . '
the santa clause 2 's plot may sound like it was co-written by mattel executives and lobbyists for the tinsel industry .
true to its animatronic roots : ... as stiff , ponderous and charmless as a mechanical apparatus ... ` the country bears ' should never have been brought out of hibernation .
the piano teacher is not an easy film .
degenerates into hogwash .
absurdities and clichés accumulate like lint in a fat man 's navel .
those who are not acquainted with the author 's work , on the other hand , may fall fast asleep .
unlike trey parker , sandler does n't understand that the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself .
green ruins every single scene he 's in , and the film , while it 's not completely wreaked , is seriously compromised by that .
stealing harvard ca n't even do that much .
if the predictability of bland comfort food appeals to you , then the film is a pleasant enough dish .
the story suffers a severe case of oversimplification , superficiality and silliness .
a technical triumph and an extraordinary bore .
the characters ... are paper-thin , and their personalities undergo radical changes when it suits the script .
what they see in each other also is difficult to fathom .
what might have been readily dismissed as the tiresome rant of an aging filmmaker still thumbing his nose at convention takes a surprising , subtle turn at the midway point .
does not go far enough in its humor or stock ideas to stand out as particularly memorable or even all that funny .
about as enjoyable , i would imagine , as searching for a quarter in a giant pile of elephant feces ... positively dreadful .
what ensues are much blood-splattering , mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .
very much a home video , and so devoid of artifice and purpose that it appears not to have been edited at all .
no , even that 's too committed .
the entire movie is in need of a scented bath .
i spied with my little eye ... a mediocre collection of cookie-cutter action scenes and occasionally inspired dialogue bits
are we dealing with dreams , visions or being told what actually happened as if it were the third ending of clue ?
this movie is so bad , that it 's almost worth seeing because it 's so bad .
no better or worse than ` truth or consequences , n.m. ' or any other interchangeable actioner with imbecilic mafia toolbags botching a routine assignment in a western backwater .
well , this movie proves you wrong on both counts .
those who are only mildly curious , i fear , will be put to sleep or bewildered by the artsy and often pointless visuals .
theological matters aside , the movie is so clumsily sentimental and ineptly directed it may leave you speaking in tongues .
ignoring that , he made swimfan anyway
we never truly come to care about the main characters and whether or not they 'll wind up together , and michele 's spiritual quest is neither amusing nor dramatic enough to sustain interest .
like schindler 's list , the grey zone attempts to be grandiloquent , but ends up merely pretentious -- in a grisly sort of way .
video games are more involving than this mess .
an obvious copy of one of the best films ever made , how could it not be ?
the plan to make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller ' has flopped as surely as a soufflé gone wrong .
equilibrium the movie , as opposed to the manifesto , is really , really stupid .
suffers from over-familiarity since hit-hungry british filmmakers have strip-mined the monty formula mercilessly since 1997 .
for most movies , 84 minutes is short , but this one feels like a life sentence .
-lrb- h -rrb- ad i suffered and bled on the hard ground of ia drang , i 'd want something a bit more complex than we were soldiers to be remembered by .
unfunny comedy with a lot of static set ups , not much camera movement , and most of the scenes take place indoors in formal settings with motionless characters .
a movie in which two not very absorbing characters are engaged in a romance you ca n't wait to see end .
mediocre fable from burkina faso .
the worst film of the year .
it 's a barely tolerable slog over well-trod ground .
manipulative claptrap , a period-piece movie-of-the-week , plain old blarney ... take your pick .
not that any of us should be complaining when a film clocks in around 90 minutes these days , but the plotting here leaves a lot to be desired .
it 's crap on a leash -- far too polite to scale the lunatic heights of joe dante 's similarly styled gremlins .
without any redeeming value whatsoever .
they cheapen the overall effect .
an already thin story boils down to surviving invaders seeking an existent anti-virus .
a period story about a catholic boy who tries to help a jewish friend get into heaven by sending the audience straight to hell .
a film that should be relegated to a dark video store corner is somehow making its way instead to theaters .
resurrection has the dubious distinction of being a really bad imitation of the really bad blair witch project .
fluffy and disposible .
odd and weird .
no matter how much he runs around and acts like a doofus , accepting a 50-year-old in the role is creepy in a michael jackson sort of way .
can i admit xxx is as deep as a petri dish and as well-characterized as a telephone book but still say it was a guilty pleasure ?
interview with the assassin is structured less as a documentary and more as a found relic , and as such the film has a difficult time shaking its blair witch project real-time roots .
it 's mildly interesting to ponder the peculiar american style of justice that plays out here , but it 's so muddled and derivative that few will bother thinking it all through .
it appears to have been modeled on the worst revenge-of-the-nerds clichés the filmmakers could dredge up .
reign of fire has the disadvantage of also looking cheap .
grant is n't cary and bullock is n't katherine .
a terrible adaptation of a play that only ever walked the delicate tightrope between farcical and loathsome .
not just unlikable .
priggish , lethargically paced parable of renewal .
excruciatingly unfunny and pitifully unromantic .
as if drop dead gorgeous was n't enough , this equally derisive clunker is fixated on the spectacle of small-town competition .
... really horrible drek .
the problem is that the movie has no idea of it is serious or not .
but it 's hard to imagine a more generic effort in the genre .
snoots will no doubt rally to its cause , trotting out threadbare standbys like ` masterpiece ' and ` triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .
... stale and uninspired .
it 's the humanizing stuff that will probably sink the film for anyone who does n't think about percentages all day long .
if the full monty was a freshman fluke , lucky break is -lrb- cattaneo -rrb- sophomore slump .
rarely does a film so graceless and devoid of merit as this one come along .
for all its brilliant touches , dragon loses its fire midway , nearly flickering out by its perfunctory conclusion .
dull , a road-trip movie that 's surprisingly short of both adventure and song .
baran is shockingly devoid of your typical majid majidi shoe-loving , crippled children .
as the movie dragged on , i thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign .
that 's its first sign of trouble .
ah , yes , that would be me : fighting off the urge to doze .
a visually flashy but narratively opaque and emotionally vapid exercise in style and mystification .
hard-core slasher aficionados will find things to like ... but overall the halloween series has lost its edge .
makes the same mistake as the music industry it criticizes , becoming so slick and watered-down it almost loses what made you love it in the first place .
tedious norwegian offering which somehow snagged an oscar nomination .
breen 's script is sketchy with actorish notations on the margin of acting .
the film can depress you about life itself .
then you get another phone call warning you that if the video is n't back at blockbuster before midnight , you 're going to face frightening late fees .
the story is -- forgive me -- a little thin , and the filmmaking clumsy and rushed .
feels shrill , simple and soapy .
it sucked .
a light , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation .
a so-so , made-for-tv something posing as a real movie .
an unencouraging threefold expansion on the former mtv series , accompanying the stunt-hungry dimwits in a random series of collected gags , pranks , pratfalls , dares , injuries , etc. .
a jumbled fantasy comedy that did not figure out a coherent game plan at scripting , shooting or post-production stages .
this thing is virtually unwatchable .
this is the kind of movie where people who have never picked a lock do so easily after a few tries and become expert fighters after a few weeks .
schaefer 's ... determination to inject farcical raunch ... drowns out the promise of the romantic angle .
yet why it fails is a riddle wrapped in a mystery inside an enigma .
may cause you to bite your tongue to keep from laughing at the ridiculous dialog or the oh-so convenient plot twists .
costner 's warm-milk persona is just as ill-fitting as shadyac 's perfunctory directing chops , and some of the more overtly silly dialogue would sink laurence olivier .
the picture seems uncertain whether it wants to be an acidic all-male all about eve or a lush , swooning melodrama in the intermezzo strain .
it 's easy to love robin tunney -- she 's pretty and she can act -- but it gets harder and harder to understand her choices .
it 's just not very smart .
meandering and confusing .
there are just too many characters saying too many clever things and getting into too many pointless situations .
i 'm sure the filmmaker would disagree , but , honestly , i do n't see the point .
without -lrb- de niro -rrb- , city by the sea would slip under the waves .
mr. soderbergh 's direction and visual style struck me as unusually and unimpressively fussy and pretentious .
too slow for a younger crowd , too shallow for an older one .
instead of building to a laugh riot we are left with a handful of disparate funny moments of no real consequence .
just another generic drama that has nothing going for it other than its exploitive array of obligatory cheap thrills .
demme gets a lot of flavor and spice into his charade remake , but he ca n't disguise that he 's spiffing up leftovers that are n't so substantial or fresh .
but unless you 're an absolute raving star wars junkie , it is n't much fun .
to honestly address the flaws inherent in how medical aid is made available to american workers , a more balanced or fair portrayal of both sides will be needed .
halfway through , however , having sucked dry the undead action flick formula , blade ii mutates into a gross-out monster movie with effects that are more silly than scary .
to get at the root psychology of this film would require many sessions on the couch of dr. freud .
overly long and worshipful bio-doc .
it appears to have been made by people to whom the idea of narrative logic or cohesion is an entirely foreign concept .
a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences .
it desperately wants to be a wacky , screwball comedy , but the most screwy thing here is how so many talented people were convinced to waste their time .
the threat implied in the title pokémon 4ever is terrifying -- like locusts in a horde these things will keep coming .
flashy gadgets and whirling fight sequences may look cool , but they ca n't distract from the flawed support structure holding equilibrium up .
mr. wollter and ms. seldhal give strong and convincing performances , but neither reaches into the deepest recesses of the character to unearth the quaking essence of passion , grief and fear .
although the sequel has all the outward elements of the original , the first film 's lovely flakiness is gone , replaced by the forced funniness found in the dullest kiddie flicks .
but they lack their idol 's energy and passion for detail .
the movie 's vision of a white american zealously spreading a puritanical brand of christianity to south seas islanders is one only a true believer could relish .
a negligible british comedy .
you 'll find yourself wishing that you and they were in another movie .
little more than a stylish exercise in revisionism whose point ... is no doubt true , but serves as a rather thin moral to such a knowing fable .
despite bearing the paramount imprint , it 's a bargain-basement european pickup .
by the time you reach the finale , you 're likely wondering why you 've been watching all this strutting and posturing .
a predictable , manipulative stinker .
... post-september 11 , `` the sum of all fears '' seems more tacky and reprehensible , manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves .
a retread of material already thoroughly plumbed by martin scorsese .
a bad movie that happened to good actors .
plays like john le carré with a couple of burnt-out cylinders .
... a rather bland affair .
despite engaging offbeat touches , knockaround guys rarely seems interested in kicking around a raison d'etre that 's as fresh-faced as its young-guns cast .
what an embarrassment .
i hate the feeling of having been slimed in the name of high art .
what makes esther kahn so demanding is that it progresses in such a low-key manner that it risks monotony .
this is a film tailor-made for those who when they were in high school would choose the cliff-notes over reading a full-length classic .
jacobi , the most fluent of actors , is given relatively dry material from nijinsky 's writings to perform , and the visuals , even erotically frank ones , become dullingly repetitive .
it just did n't mean much to me and played too skewed to ever get a hold on -lrb- or be entertained by -rrb- .
sweet home alabama certainly wo n't be remembered as one of -lrb- witherspoon 's -rrb- better films .
the film is all over the place , really .
has all the values of a straight-to-video movie , but because it has a bigger-name cast , it gets a full theatrical release .
... this is n't even a movie we can enjoy as mild escapism ; it is one in which fear and frustration are provoked to intolerable levels .
do n't even bother to rent this on video .
if only merchant paid more attention the story .
the colorful masseur wastes its time on mood rather than riding with the inherent absurdity of ganesh 's rise up the social ladder .
-lrb- a -rrb- painfully flat gross-out comedy ...
shunji iwai 's all about lily chou chou is a beautifully shot , but ultimately flawed film about growing up in japan .
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 .
franco is an excellent choice for the walled-off but combustible hustler , but he does not give the transcendent performance sonny needs to overcome gaps in character development and story logic .
this is not an easy film .
a spooky yarn of demonic doings on the high seas that works better the less the brain is engaged .
some writer dude , i think his name was , uh , michael zaidan , was supposed to have like written the screenplay or something , but , dude , the only thing that i ever saw that was written down were the zeroes on my paycheck .
the following things are not at all entertaining : the bad sound , the lack of climax and , worst of all , watching seinfeld -lrb- who is also one of the film 's producers -rrb- do everything he can to look like a good guy .
in its chicken heart , crush goes to absurd lengths to duck the very issues it raises .
squandering his opportunity to make absurdist observations , burns gets caught up in the rush of slapstick thoroughfare .
its simplicity puts an exclamation point on the fact that this is n't something to be taken seriously , but it also wrecks any chance of the movie rising above similar fare .
at times , it actually hurts to watch .
made me unintentionally famous -- as the queasy-stomached critic who staggered from the theater and blacked out in the lobby .
philosophically , intellectually and logistically a mess .
a well-crafted letdown .
toward the end sum of all fears morphs into a mundane '70s disaster flick .
there 's a little violence and lots of sex in a bid to hold our attention , but it grows monotonous after a while , as do joan and philip 's repetitive arguments , schemes and treachery .
girlfriends are bad , wives are worse and babies are the kiss of death in this bitter italian comedy .
adrift , bentley and hudson stare and sniffle , respectively , as ledger attempts , in vain , to prove that movie-star intensity can overcome bad hair design .
muddled , simplistic and more than a little pretentious .
morrissette has performed a difficult task indeed - he 's taken one of the world 's most fascinating stories and made it dull , lifeless , and irritating .
carrying this wafer-thin movie on his nimble shoulders , chan wades through putrid writing , direction and timing with a smile that says , ` if i stay positive , maybe i can channel one of my greatest pictures , drunken master . '
this latest installment of the horror film franchise that is apparently as invulnerable as its trademark villain has arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone .
... a sour little movie at its core ; an exploration of the emptiness that underlay the relentless gaiety of the 1920 's ... the film 's ending has a `` what was it all for ? ''
slack and uninspired , and peopled mainly by characters so unsympathetic that you 're left with a sour taste in your mouth .
forgettable , if good-hearted , movie .
for every articulate player , such as skateboarder tony hawk or bmx rider mat hoffman , are about a half dozen young turks angling to see how many times they can work the words `` radical '' or `` suck '' into a sentence .
a culture clash comedy only half as clever as it thinks it is .
this is a third-person story now , told by hollywood , and much more ordinary for it .
at 90 minutes this movie is short , but it feels much longer .
mckay seems embarrassed by his own invention and tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device he has put in service .
the big-screen scooby makes the silly original cartoon seem smart and well-crafted in comparison .
the script ?
whole stretches of the film may be incomprehensible to moviegoers not already clad in basic black .
these guys seem great to knock back a beer with but they 're simply not funny performers .
... bibbidy-bobbidi-bland .
one thing 's for sure -- if george romero had directed this movie , it would n't have taken the protagonists a full hour to determine that in order to kill a zombie you must shoot it in the head .
epps has neither the charisma nor the natural affability that has made tucker a star .
needed a little less bling-bling and a lot more romance .
but the movie 's narrative hook is way too muddled to be an effectively chilling guilty pleasure .
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 .
not completely loveable -- but what underdog movie since the bad news bears has been ?
a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit 's classic mistaken identity farce into brutally labored and unfunny hokum .
what starts off as a satisfying kids flck becomes increasingly implausible as it races through contrived plot points .
has none of the crackle of `` fatal attraction '' , `` 9 1\/2 weeks '' , or even `` indecent proposal '' , and feels more like lyne 's stolid remake of `` lolita '' .
as a director , eastwood is off his game -- there 's no real sense of suspense , and none of the plot ` surprises ' are really surprising .
it 's a loathsome movie , it really is and it makes absolutely no sense .
phoned-in business as usual .
the only thing to fear about `` fear dot com '' is hitting your head on the theater seat in front of you when you doze off thirty minutes into the film .
to the vast majority of more casual filmgoers , it will probably be a talky bore .
it 's a mystery how the movie could be released in this condition .
a sad and rote exercise in milking a played-out idea -- a straight guy has to dress up in drag -- that shockingly manages to be even worse than its title would imply .
a grand fart coming from a director beginning to resemble someone 's crazy french grandfather .
it 's possible that something hip and transgressive was being attempted here that stubbornly refused to gel , but the result is more puzzling than unsettling .
eight legged freaks ?
the movie wavers between hallmark card sentimentality and goofy , life-affirming moments straight out of a cellular phone commercial .
a reality-snubbing hodgepodge .
-lrb- a -rrb- slummer .
it 's a big idea , but the film itself is small and shriveled .
for all its violence , the movie is remarkably dull with only caine making much of an impression .
... a cinematic disaster so inadvertently sidesplitting it 's worth the price of admission for the ridicule factor alone .
even if it made its original release date last fall , it would 've reeked of a been-there , done-that sameness .
unfortunately , it 's also not very good .
too much power , not enough puff .
despite an impressive roster of stars and direction from kathryn bigelow , the weight of water is oppressively heavy .
a film which presses familiar herzog tropes into the service of a limpid and conventional historical fiction , when really what we demand of the director is to be mesmerised .
here , common sense flies out the window , along with the hail of bullets , none of which ever seem to hit sascha .
once she lets her love depraved leads meet , -lrb- denis ' -rrb- story becomes a hopeless , unsatisfying muddle
nothing too deep or substantial .
but what is missing from it all is a moral .
obvious , obnoxious and didactic burlesque .
vaguely interesting , but it 's just too too much .
a nearly 21\/2 hours , the film is way too indulgent .
... unlikable , uninteresting , unfunny , and completely , utterly inept .
a clash between the artificial structure of the story and the more contemporary , naturalistic tone of the film ...
` christian bale 's quinn -lrb- is -rrb- a leather clad grunge-pirate with a hairdo like gandalf in a wind-tunnel and a simply astounding cor-blimey-luv-a-duck cockney accent . '
i 'm not exactly sure what this movie thinks it is about .
a real snooze .
the kids in the audience at the preview screening seemed bored , cheering the pratfalls but little else ; their parents , wise folks that they are , read books .
partly a schmaltzy , by-the-numbers romantic comedy , partly a shallow rumination on the emptiness of success -- and entirely soulless .
for its 100 minutes running time , you 'll wait in vain for a movie to happen .
a movie that harps on media-constructed ` issues ' like whether compromise is the death of self ... this orgasm -lrb- wo n't be an -rrb- exceedingly memorable one for most people .
this is not one of the movies you 'd want to watch if you only had a week to live .
but mainstream audiences will find little of interest in this film , which is often preachy and poorly acted .
lookin ' for sin , american-style ?
it drowns in sap .
laggard drama wending its way to an uninspired philosophical epiphany .
interminably bleak , to say nothing of boring .
believability was n't one of the film 's virtues .
the movie attempts to mine laughs from a genre -- the gangster\/crime comedy -- that wore out its welcome with audiences several years ago , and its cutesy reliance on movie-specific cliches is n't exactly endearing .
... del toro maintains a dark mood that makes the film seem like something to endure instead of enjoy .
starts out strongly before quickly losing its focus , point and purpose in a mess of mixed messages , over-blown drama and bruce willis with a scar .
though an important political documentary , this does not really make the case the kissinger should be tried as a war criminal .
swims in mediocrity , sticking its head up for a breath of fresh air now and then .
even fans of ismail merchant 's work , i suspect , would have a hard time sitting through this one .
the high-concept scenario soon proves preposterous , the acting is robotically italicized , and truth-in-advertising hounds take note : there 's very little hustling on view .
what 's worse is that pelosi knows it .
a `` home alone '' film that is staged like `` rosemary 's baby , '' but is not as well-conceived as either of those films .
although made on a shoestring and unevenly acted , conjures a lynch-like vision of the rotting underbelly of middle america .
everything about girls ca n't swim , even its passages of sensitive observation , feels secondhand , familiar -- and not in a good way .
will probably be one of those movies barely registering a blip on the radar screen of 2002 .
it 's super - violent , super-serious and super-stupid .
all the small moments and flashbacks do n't add up to much more than trite observations on the human condition .
i found the movie as divided against itself as the dysfunctional family it portrays .
though frida is easier to swallow than julie taymor 's preposterous titus , the eye candy here lacks considerable brio .
... silly humbuggery ...
predecessors the mummy and the mummy returns stand as intellectual masterpieces next to the scorpion king .
... too sappy for its own good .
this flat run at a hip-hop tootsie is so poorly paced you could fit all of pootie tang in between its punchlines .
no , i do n't know why steven seagal is considered a star , nor why he keeps being cast in action films when none of them are ever any good or make any money .
little is done to support the premise other than fling gags at it to see which ones shtick .
one of those decades-spanning historical epics that strives to be intimate and socially encompassing but fails to do justice to either effort in three hours of screen time .
a huge disappointment coming , as it does , from filmmakers and performers of this calibre
for a film that 's being advertised as a comedy , sweet home alabama is n't as funny as you 'd hoped .
richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .
written , flatly , by david kendall and directed , barely , by there 's something about mary co-writer ed decter .
it 's a film with an idea buried somewhere inside its fabric , but never clearly seen or felt .
one can only assume that the jury who bestowed star hoffman 's brother gordy with the waldo salt screenwriting award at 2002 's sundance festival were honoring an attempt to do something different over actually pulling it off
not a stereotype is omitted nor a cliché left unsaid .
it 's coherent , well shot , and tartly acted , but it wears you down like a dinner guest showing off his doctorate .
the film never gets over its own investment in conventional arrangements , in terms of love , age , gender , race , and class .
sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours .
-lrb- a -rrb- stale retread of the '53 original .
there 's no point in extracting the bare bones of byatt 's plot for purposes of bland hollywood romance .
zigzag might have been richer and more observant if it were less densely plotted .
to better understand why this did n't connect with me would require another viewing , and i wo n't be sitting through this one again ... that in itself is commentary enough .
is a question for philosophers , not filmmakers ; all the filmmakers need to do is engage an audience .
at some point , all this visual trickery stops being clever and devolves into flashy , vaguely silly overkill .
a ragbag of cliches .
overburdened with complicated plotting and banal dialogue
the milieu is wholly unconvincing ... and the histrionics reach a truly annoying pitch .
the picture emerges as a surprisingly anemic disappointment .
rice never clearly defines his characters or gives us a reason to care about them .
but here 's a movie about it anyway .
i did n't smile .
kapur fails to give his audience a single character worth rooting for -lrb- or worth rooting against , for that matter -rrb- .
befuddled in its characterizations as it begins to seem as long as the two year affair which is its subject
nothing more than an amiable but unfocused bagatelle that plays like a loosely-connected string of acting-workshop exercises .
it 's horribly depressing and not very well done .
this is cruel , misanthropic stuff with only weak claims to surrealism and black comedy .
a pale xerox of other , better crime movies .
the story has little wit and no surprises .
just another disjointed , fairly predictable psychological thriller .
the french director has turned out nearly 21\/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .
it 's only in fairy tales that princesses that are married for political reason live happily ever after .
the sort of picture in which , whenever one of the characters has some serious soul searching to do , they go to a picture-perfect beach during sunset .
in the new guy , even the bull gets recycled .
reggio and glass so rhapsodize cynicism , with repetition and languorous slo-mo sequences , that glass 's dirgelike score becomes a fang-baring lullaby .
there might be some sort of credible gender-provoking philosophy submerged here , but who the hell cares ?
a movie that 's held captive by mediocrity .
has a customarily jovial air but a deficit of flim-flam inventiveness .
a dark-as-pitch comedy that frequently veers into corny sentimentality , probably would not improve much after a therapeutic zap of shock treatment .
a tired , unimaginative and derivative variation of that already-shallow genre .
patchy combination of soap opera , low-tech magic realism and , at times , ploddingly sociological commentary .
a movie you observe , rather than one you enter into .
should have been worth cheering as a breakthrough but is devoid of wit and humor .
its plot and animation offer daytime tv serviceability , but little more .
a disappointment for a movie that should have been the ultimate imax trip .
a portrait of alienation so perfect , it will certainly succeed in alienating most viewers .
the director , with his fake backdrops and stately pacing , never settles on a consistent tone .
earnest yet curiously tepid and choppy recycling in which predictability is the only winner .
it is most of the things costner movies are known for ; it 's sanctimonious , self-righteous and so eager to earn our love that you want to slap it .
pretend it 's a werewolf itself by avoiding eye contact and walking slowly away .
you can fire a torpedo through some of clancy 's holes , and the scripters do n't deserve any oscars .
truly terrible .
it 's hard to imagine acting that could be any flatter .
each scene drags , underscoring the obvious , and sentiment is slathered on top .
fluffy neo-noir hiding behind cutesy film references .
a film really has to be exceptional to justify a three hour running time , and this is n't .
content merely to lionize its title character and exploit his anger - all for easy sanctimony , formulaic thrills and a ham-fisted sermon on the need for national health insurance .
a beyond-lame satire , teddy bears ' picnic ranks among the most pitiful directing debuts by an esteemed writer-actor .
it looks like an action movie , but it 's so poorly made , on all levels , that it does n't even qualify as a spoof of such .
its generic villains lack any intrigue -lrb- other than their funny accents -rrb- and the action scenes are poorly delivered .
has no reason to exist , other than to employ hollywood kids and people who owe favors to their famous parents .
in a big corner office in hell , satan is throwing up his hands in surrender , is firing his r&d people , and has decided he will just screen the master of disguise 24\/7 .
deep down , i realized the harsh reality of my situation : i would leave the theater with a lower i.q. than when i had entered .
it is just too bad the film 's story does not live up to its style .
a muted freak-out
absolutely not .
in the real world , an actor this uncharismatically beautiful would have a résumé loaded with credits like `` girl in bar # 3 . ''
barney throws away the goodwill the first half of his movie generates by orchestrating a finale that is impenetrable and dull .
it 's sweet and fluffy at the time , but it may leave you feeling a little sticky and unsatisfied .
a dreary movie .
cruel and inhuman cinematic punishment ... simultaneously degrades its characters , its stars and its audience .
you may think you have figured out the con and the players in this debut film by argentine director fabian bielinsky , but while you were thinking someone made off with your wallet .
the premise itself is just sooooo tired .
the emotional overload of female angst irreparably drags the film down .
... while each moment of this broken character study is rich in emotional texture , the journey does n't really go anywhere .
aside from the fact that the film idiotically uses the website feardotcom.com or the improperly hammy performance from poor stephen rea , the film gets added disdain for the fact that it is nearly impossible to look at or understand .
... blade ii is still top-heavy with blazing guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves that serve no other purpose than to call attention to themselves .
every joke is repeated at least four times .
an imponderably stilted and self-consciously arty movie .
solondz is so intent on hammering home his message that he forgets to make it entertaining .
... pitiful , slapdash disaster .
the crap continues .
it 's a terrible movie in every regard , and utterly painful to watch .
this is a monumental achievement in practically every facet of inept filmmaking : joyless , idiotic , annoying , heavy-handed , visually atrocious , and often downright creepy .
unfortunately , the experience of actually watching the movie is less compelling than the circumstances of its making .
what starts off as a potentially incredibly twisting mystery becomes simply a monster chase film .
nobody seems to have cared much about any aspect of it , from its cheesy screenplay to the grayish quality of its lighting to its last-minute , haphazard theatrical release .
as in aimless , arduous , and arbitrary .
this is a poster movie , a mediocre tribute to films like them !
there is no solace here , no entertainment value , merely a fierce lesson in where filmmaking can take us .
the most horrific movie experience i 've had since `` ca n't stop the music . ''
comes off more like a misdemeanor , a flat , unconvincing drama that never catches fire .
while the transgressive trappings -lrb- especially the frank sex scenes -rrb- ensure that the film is never dull , rodrigues 's beast-within metaphor is ultimately rather silly and overwrought , making the ambiguous ending seem goofy rather than provocative .
blue crush has all the trappings of an energetic , extreme-sports adventure , but ends up more of a creaky `` pretty woman '' retread , with the emphasis on self-empowering schmaltz and big-wave surfing that gives pic its title an afterthought .
... hits every cliche we 've come to expect , including the assumption that `` crazy '' people are innocent , childlike and inherently funny .
adam sandler 's eight crazy nights grows on you -- like a rash .
nicks and steinberg match their own creations for pure venality -- that 's giving it the old college try .
not even solondz 's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it .
and in a sense , that 's a liability .
the romance between the leads is n't as compelling or as believable as it should be .
never having seen the first two films in the series , i ca n't compare friday after next to them , but nothing would change the fact that what we have here is a load of clams left in the broiling sun for a good three days .
a straight-ahead thriller that never rises above superficiality .
the problem with the film is whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau .
the whole mess boils down to a transparently hypocritical work that feels as though it 's trying to set the women 's liberation movement back 20 years . '
not even steven spielberg has dreamed up such blatant and sickening product placement in a movie .
the paradiso 's rusted-out ruin and ultimate collapse during the film 's final -lrb- restored -rrb- third ... emotionally belittle a cinema classic .
in the not-too-distant future , movies like ghost ship will be used as analgesic balm for overstimulated minds .
i do n't think so .
at best this is a film for the under-7 crowd .
parts of the film feel a bit too much like an infomercial for ram dass 's latest book aimed at the boomer demographic .
the script is a dim-witted pairing of teen-speak and animal gibberish .
almost peerlessly unsettling .
despite auteuil 's performance , it 's a rather listless amble down the middle of the road , where the thematic ironies are too obvious and the sexual politics too smug .
while this one gets off with a good natured warning , future lizard endeavors will need to adhere more closely to the laws of laughter
daughter from danang reveals that efforts toward closure only open new wounds .
suffice to say its total promise is left slightly unfulfilled .
parents beware ; this is downright movie penance .
whatever satire lucky break was aiming for , it certainly got lost in the `` soon-to-be-forgettable '' section of the quirky rip-off prison romp pile .
there 's no energy .
starts off witty and sophisticated and you want to love it -- but filmmaker yvan attal quickly writes himself into a corner .
true to its title , it traps audiences in a series of relentlessly nasty situations that we would pay a considerable ransom not to be looking at .
the ethos of the chelsea hotel may shape hawke 's artistic aspirations , but he has n't yet coordinated his own dv poetry with the beat he hears in his soul .
grant is certainly amusing , but the very hollowness of the character he plays keeps him at arms length
it 's not just the vampires that are damned in queen of the damned -- the viewers will feel they suffer the same fate .
extremely bad .
although disney follows its standard formula in this animated adventure , it feels more forced than usual .
what 's missing in murder by numbers is any real psychological grounding for the teens ' deviant behaviour .
any attempts at nuance given by the capable cast is drowned out by director jon purdy 's sledgehammer sap .
it 's lost the politics and the social observation and become just another situation romance about a couple of saps stuck in an inarticulate screenplay .
ritchie 's film is easier to swallow than wertmuller 's polemical allegory , but it 's self-defeatingly decorous .
purports to be a hollywood satire but winds up as the kind of film that should be the target of something deeper and more engaging .
halfway through the movie , the humor dwindles .
sadly , though many of the actors throw off a spark or two when they first appear , they ca n't generate enough heat in this cold vacuum of a comedy to start a reaction .
such a bad movie that its luckiest viewers will be seated next to one of those ignorant pinheads who talk throughout the show .
seems content to dog-paddle in the mediocre end of the pool , and it 's a sad , sick sight .
but it does n't leave you with much .
as the mediterranean sparkles , ` swept away ' sinks .
two-bit potboiler .
at once overly old-fashioned in its sudsy plotting and heavy-handed in its effort to modernize it with encomia to diversity and tolerance .
it 's just rather leaden and dull .
problem is , we have no idea what in creation is going on .
the movie is a mess from start to finish .
but the feelings evoked in the film are lukewarm and quick to pass .
the only camouflage carvey should now be considering is a paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers .
scarcely worth a mention apart from reporting on the number of tumbleweeds blowing through the empty theatres graced with its company .
as plain and pedestrian as catsup --
a loquacious and dreary piece of business .
behan 's memoir is great material for a film -- rowdy , brawny and lyrical in the best irish sense -- but sheridan has settled for a lugubrious romance .
a rather tired exercise in nostalgia .
` linklater fans , or pretentious types who want to appear avant-garde will suck up to this project ... '
there 's little to recommend snow dogs , unless one considers cliched dialogue and perverse escapism a source of high hilarity .
one lousy movie .
it 's such a mechanical endeavor -lrb- that -rrb- it never bothers to question why somebody might devote time to see it .
a blair witch - style adventure that plays like a bad soap opera , with passable performances from everyone in the cast .
until its final minutes this is a perceptive study of two families in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity .
abandon spends 90 minutes trying figure out whether or not some cocky pseudo-intellectual kid has intentionally left college or was killed .
needs more impressionistic cinematography and exhilarating point-of-view shots and fewer slow-motion ` grandeur ' shots and quick-cut edits that often detract from the athleticism .
where this was lazy but enjoyable , a formula comedy redeemed by its stars , that is even lazier and far less enjoyable .
-lrb- soderbergh -rrb- 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 .
the kind of film that leaves you scratching your head in amazement over the fact that so many talented people could participate in such an ill-advised and poorly executed idea .
each story is built on a potentially interesting idea , but the first two are ruined by amateurish writing and acting , while the third feels limited by its short running time .
the film is really closer to porn than a serious critique of what 's wrong with this increasingly pervasive aspect of gay culture .
this is a movie that starts out like heathers , then becomes bring it on , then becomes unwatchable .
time literally stops on a dime in the tries-so-hard-to-be-cool `` clockstoppers , '' but that does n't mean it still wo n't feel like the longest 90 minutes of your movie-going life .
though it pretends to expose the life of male hustlers , it 's exploitive without being insightful .
too long , and larded with exposition , this somber cop drama ultimately feels as flat as the scruffy sands of its titular community .
love may have been in the air onscreen , but i certainly was n't feeling any of it .
this director 's cut -- which adds 51 minutes -- takes a great film and turns it into a mundane soap opera .
movies like high crimes flog the dead horse of surprise as if it were an obligation .
it 's just a movie that happens to have jackie chan in it .
adam sandler 's 8 crazy nights is 75 wasted minutes of sandler as the voice-over hero in columbia pictures ' perverse idea of an animated holiday movie .
a mess .
the characters are never more than sketches ... which leaves any true emotional connection or identification frustratingly out of reach .
what we have here is n't a disaster , exactly , but a very handsomely produced let-down .
there 's a reason the studio did n't offer an advance screening .
one of the worst films of 2002 .
lazy , miserable and smug .
-lrb- t -rrb- he script is n't up to the level of the direction , nor are the uneven performances by the cast members , who seem bound and determined to duplicate bela lugosi 's now-cliched vampire accent .
often demented in a good way , but it is an uneven film for the most part .
this thing is just garbage .
like the world of his film , hartley created a monster but did n't know how to handle it .
never inspires more than an interested detachment .
instead of trying to bust some blondes , -lrb- diggs -rrb- should be probing why a guy with his talent ended up in a movie this bad .
meyjes 's movie , like max rothman 's future , does not work .
but i had a lot of problems with this movie .
it 's dull , spiritless , silly and monotonous : an ultra-loud blast of pointless mayhem , going nowhere fast .
the cinematic equivalent of patronizing a bar favored by pretentious , untalented artistes who enjoy moaning about their cruel fate .
never does `` lilo & stitch '' reach the emotion or timelessness of disney 's great past , or even that of more recent successes such as `` mulan '' or `` tarzan . ''
my own minority report is that it stinks .
frankly , it 's pretty stupid .
a particularly joyless , and exceedingly dull , period coming-of-age tale .
there 's no good answer to that one .
a bore that tends to hammer home every one of its points .
a non-mystery mystery .
there 's more repetition than creativity throughout the movie .
fear dot com is more frustrating than a modem that disconnects every 10 seconds .
instead of a witty expose on the banality and hypocrisy of too much kid-vid , we get an ugly , mean-spirited lashing out by an adult who 's apparently been forced by his kids to watch too many barney videos .
feels like the work of an artist who is simply tired -- of fighting the same fights , of putting the weight of the world on his shoulders , of playing with narrative form .
it is very difficult to care about the character , and that is the central flaw of the film .
why did they deem it necessary to document all this emotional misery ?
the film does n't really care about the thousands of americans who die hideously , it cares about how ryan meets his future wife and makes his start at the cia .
the filmmakers are playing to the big boys in new york and l.a. to that end , they mock the kind of folks they do n't understand , ones they figure the power-lunchers do n't care to understand , either .
i wish it would have just gone more over-the-top instead of trying to have it both ways .
the whole affair , true story or not , feels incredibly hokey ... -lrb- it -rrb- comes off like a hallmark commercial .
a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks .
the events of the film are just so weird that i honestly never knew what the hell was coming next .
episode ii -- attack of the clones is a technological exercise that lacks juice and delight .
though there 's a clarity of purpose and even-handedness to the film 's direction , the drama feels rigged and sluggish .
noyce 's greatest mistake is thinking that we needed sweeping , dramatic , hollywood moments to keep us
cacoyannis ' vision is far less mature , interpreting the play as a call for pity and sympathy for anachronistic phantasms haunting the imagined glory of their own pasts .
... has about 3\/4th the fun of its spry 2001 predecessor -- but it 's a rushed , slapdash , sequel-for-the-sake - of-a-sequel with less than half the plot and ingenuity .
plays like one of those conversations that comic book guy on `` the simpsons '' has .
dong never pushes for insights beyond the superficial tensions of the dynamic he 's dissecting , and the film settles too easily along the contours of expectation .
the movie slides downhill as soon as macho action conventions assert themselves .
shows that jackie chan is getting older , and that 's something i would rather live in denial about
made to be jaglomized is the cannes film festival , the annual riviera spree of flesh , buzz , blab and money .
anyone not into high-tech splatterfests is advised to take the warning literally , and log on to something more user-friendly .
-lrb- tries -rrb- to parody a genre that 's already a joke in the united states .
they were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they 'd earn .
a fragile framework upon which to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming .
this picture is murder by numbers , and as easy to be bored by as your abc 's , despite a few whopping shootouts .
though jones and snipes are enthralling , the movie bogs down in rhetoric and cliché .
even a hardened voyeur would require the patience of job to get through this interminable , shapeless documentary about the swinging subculture .
a gratingly unfunny groaner littered with zero-dimensional , unlikable characters and hackneyed , threadbare comic setups .
a mediocre exercise in target demographics , unaware that it 's the butt of its own joke .
thumbs down .
at a time when we 've learned the hard way just how complex international terrorism is , collateral damage paints an absurdly simplistic picture .
upper west sidey exercise in narcissism and self-congratulation disguised as a tribute .
an uneven look into a grim future that does n't come close to the level of intelligence and visual splendour that can be seen in other films based on philip k. dick stories .
totally overwrought , deeply biased , and wholly designed to make you feel guilty about ignoring what the filmmakers clearly believe are the greatest musicians of all time .
woody allen used to ridicule movies like hollywood ending .
there is nothing redeeming about this movie .
what 's infuriating about full frontal is that it 's too close to real life to make sense .
lucas has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s .
`` ... something appears to have been lost in the translation this time .
hypnotically dull , relentlessly downbeat , laughably predictable wail pitched to the cadence of a depressed fifteen-year-old 's suicidal poetry .
once he starts learning to compromise with reality enough to become comparatively sane and healthy , the film becomes predictably conventional .
the gifted crudup has the perfect face to play a handsome blank yearning to find himself , and his cipherlike personality and bad behavior would play fine if the movie knew what to do with him .
an artsploitation movie with too much exploitation and too little art .
unless you 're a fanatic , the best advice is : ` scooby ' do n't .
go back to sleep .
this movie plays like an extended dialogue exercise in retard 101 .
it 's as if a bored cage spent the duration of the film 's shooting schedule waiting to scream : `` got aids yet ? ''
a visionary marvel , but it 's lacking a depth in storytelling usually found in anime like this .
nair just does n't have the necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy .
this low-rent -- and even lower-wit -- rip-off of the farrelly brothers ' oeuvre gets way too mushy -- and in a relatively short amount of time .
fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix .
banal and predictable .
takes a clunky tv-movie approach to detailing a chapter in the life of the celebrated irish playwright , poet and drinker .
the trashy teen-sleaze equivalent of showgirls .
it does n't flinch from its unsettling prognosis , namely , that the legacy of war is a kind of perpetual pain .
scooby-doo does n't know if it wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick .
a dramatic comedy as pleasantly dishonest and pat as any hollywood fluff .
unfunny and lacking any sense of commitment to or affection for its characters , the reginald hudlin comedy relies on toilet humor , ethnic slurs .
feels less like a cousin to blade runner than like a bottom-feeder sequel in the escape from new york series .
it jumps around with little logic or continuity , presenting backstage bytes of information that never amount to a satisfying complete picture of this particular , anciently demanding métier .
as the sulking , moody male hustler in the title role , -lrb- franco -rrb- has all of dean 's mannerisms and self-indulgence , but none of his sweetness and vulnerability .
the problem is that for the most part , the film is deadly dull .
for the rest of us , sitting through dahmer 's two hours amounts to little more than punishment .
the rollerball sequences feel sanitised and stagey .
the only young people who possibly will enjoy it are infants ... who might be distracted by the movie 's quick movements and sounds .
there 's something fishy about a seasonal holiday kids ' movie ... that derives its moment of most convincing emotional gravity from a scene where santa gives gifts to grownups .
it collapses when mr. taylor tries to shift the tone to a thriller 's rush .
it 's also not smart or barbed enough for older viewers -- not everyone thinks poo-poo jokes are ` edgy . '
it gives poor dana carvey nothing to do that is really funny , and then expects us to laugh because he acts so goofy all the time .
... stylistically , the movie is a disaster .
an opportunity missed .
dignified ceo 's meet at a rustic retreat and pee against a tree .
the overall vibe is druggy and self-indulgent , like a spring-break orgy for pretentious arts majors .
the transporter bombards the viewer with so many explosions and side snap kicks that it ends up being surprisingly dull .
perry 's good and his is an interesting character , but `` serving sara '' has n't much more to serve than silly fluff .
the film 's trailer also looked like crap , so crap is what i was expecting .
there are some laughs in this movie , but williams ' anarchy gets tiresome , the satire is weak .
it 's as if allen , at 66 , has stopped challenging himself .
the characters seem one-dimensional , and the film is superficial and will probably be of interest primarily to its target audience .
if festival in cannes nails hard - boiled hollywood argot with a bracingly nasty accuracy , much about the film , including some of its casting , is frustratingly unconvincing .
i wanted more .
as if trying to grab a lump of play-doh , the harder that liman tries to squeeze his story , the more details slip out between his fingers .
... a pretentious mess ...
terminally bland , painfully slow and needlessly confusing ... the movie , shot on digital videotape rather than film , is frequently indecipherable .
a very depressing movie of many missed opportunities .
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 .
this wretchedly unfunny wannabe comedy is inane and awful - no doubt , it 's the worst movie i 've seen this summer .
in the process of trimming the movie to an expeditious 84 minutes , director roger kumble seems to have dumped a whole lot of plot in favor of ... outrageous gags .
does n't come close to justifying the hype that surrounded its debut at the sundance film festival two years ago .
this slender plot feels especially thin stretched over the nearly 80-minute running time .
the movie 's biggest shocks come from seeing former nymphette juliette lewis playing a salt-of-the-earth mommy named minnie and watching slim travel incognito in a ridiculous wig no respectable halloween costume shop would ever try to sell .
if you value your time and money , find an escape clause and avoid seeing this trite , predictable rehash .
the jokes are flat , and the action looks fake .
weirdly , broomfield has compelling new material but he does n't unveil it until the end , after endless scenes of him wheedling reluctant witnesses and pointing his camera through the smeared windshield of his rental car .
choppy , overlong documentary about ` the lifestyle . '
the action quickly sinks into by-the-numbers territory .
ends up offering nothing more than the latest schwarzenegger or stallone flick would .
though there are many tense scenes in trapped , they prove more distressing than suspenseful .
low rent from frame one .
sheridan seems terrified of the book 's irreverent energy , and scotches most of its élan , humor , bile , and irony .
unfortunately , carvey 's rubber-face routine is no match for the insipid script he has crafted with harris goldberg .
it may as well be called `` jar-jar binks : the movie . ''
it hates its characters .
... an incredibly heavy-handed , manipulative dud that feels all too familiar .
with `` ichi the killer '' , takashi miike , japan 's wildest filmmaker gives us a crime fighter carrying more emotional baggage than batman ...
anyone who wants to start writing screenplays can just follow the same blueprint from hundreds of other films , sell it to the highest bidder and walk away without anyone truly knowing your identity .
comes off as a long , laborious whine , the bellyaching of a paranoid and unlikable man .
we do n't even like their characters .
just a collection of this and that -- whatever fills time -- with no unified whole .
the characters never change .
even kids deserve better .
while scorsese 's bold images and generally smart casting ensure that `` gangs '' is never lethargic , the movie is hindered by a central plot that 's peppered with false starts and populated by characters who are nearly impossible to care about .
once ice-t sticks his mug in the window of the couple 's bmw and begins haranguing the wife in bad stage dialogue , all credibility flies out the window .
into how long is this movie ?
think the lion king redone for horses , with fewer deliberate laughs , more inadvertent ones and stunningly trite songs by bryan adams , the world 's most generic rock star .
and for all the wrong reasons besides .
the logic of it all will be greek to anyone not predisposed to the movie 's rude and crude humor .
the movie 's downfall is to substitute plot for personality .
so much about the film is loopy and ludicrous ... that it could have been a hoot in a bad-movie way if the laborious pacing and endless exposition had been tightened .
we assume he had a bad run in the market or a costly divorce , because there is no earthly reason other than money why this distinguished actor would stoop so low .
star trek was kind of terrific once , but now it is a copy of a copy of a copy .
the dramatic scenes are frequently unintentionally funny , and the action sequences -- clearly the main event -- are surprisingly uninvolving .
because the intelligence level of the characters must be low , very low , very very low , for the masquerade to work , the movie contains no wit , only labored gags .
viewers of barney 's crushingly self-indulgent spectacle will see nothing in it to match the ordeal of sitting through it .
they ought to be a whole lot scarier than they are in this tepid genre offering .
instead of a balanced film that explains the zeitgeist that is the x games , we get a cinematic postcard that 's superficial and unrealized .
the issues are presented in such a lousy way , complete with some of the year 's -lrb- unintentionally -rrb- funniest moments , that it 's impossible to care .
it all unfolds predictably , and the adventures that happen along the way seem repetitive and designed to fill time , providing no real sense of suspense .
animated drivel meant to enhance the self-image of drooling idiots .
but rather , ` how can you charge money for this ? '
not really a thriller so much as a movie for teens to laugh , groan and hiss at .
an erotic thriller that 's neither too erotic nor very thrilling , either .
the uneven movie does have its charms and its funny moments but not quite enough of them .
demme finally succeeds in diminishing his stature from oscar-winning master to lowly studio hack .
i 'm not sure which is worse : the poor acting by the ensemble cast , the flat dialogue by vincent r. nebrida or the gutless direction by laurice guillen .
the lousy lead performances ... keep the movie from ever reaching the comic heights it obviously desired .
medem may have disrobed most of the cast , leaving their bodies exposed , but the plot remains as guarded as a virgin with a chastity belt .
is it really an advantage to invest such subtlety and warmth in an animatronic bear when the humans are acting like puppets ?
madonna has made herself over so often now , there 's apparently nothing left to work with , sort of like michael jackson 's nose .
so exaggerated and broad that it comes off as annoying rather than charming .
it should have stayed there .
what a pity ... that the material is so second-rate .
... a confusing drudgery .
-lrb- a -rrb- mess .
plays like a bad blend of an overripe episode of tv 's dawson 's creek and a recycled and dumbed-down version of love story .
black-and-white and unrealistic .
-lrb- lin chung 's -rrb- voice is rather unexceptional , even irritating -lrb- at least to this western ear -rrb- , making it awfully hard to buy the impetus for the complicated love triangle that develops between the three central characters .
it 's not helpful to listen to extremist name-calling , regardless of whether you think kissinger was a calculating fiend or just a slippery self-promoter .
a summary of the plot does n't quite do justice to the awfulness of the movie , for that comes through all too painfully in the execution .
taken as a whole , the tuxedo does n't add up to a whole lot .
good-looking but relentlessly lowbrow outing plays like clueless does south fork .
suffers from all the excesses of the genre .
hate it because it 's lousy .
this rather unfocused , all-over-the-map movie would be a lot better if it pared down its plots and characters to a few rather than dozens ... or if it were subtler ... or if it had a sense of humor .
big fat liar is little more than home alone raised to a new , self-deprecating level .
a doa dud from frame one .
why spend $ 9 on the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby ?
just the sort of lazy tearjerker that gives movies about ordinary folk a bad name .
... a hokey piece of nonsense that tries too hard to be emotional .
like its title character , esther kahn is unusual but unfortunately also irritating .
a fairly harmless but ultimately lifeless feature-length afterschool special .
i did n't laugh .
such a premise is ripe for all manner of lunacy , but kaufman and gondry rarely seem sure of where it should go .
the film is ultimately about as inspiring as a hallmark card .
the troubling thing about clockstoppers is that it does n't make any sense .
uneven performances and a spotty script add up to a biting satire that has no teeth .
even on its own ludicrous terms , the sum of all fears generates little narrative momentum , and invites unflattering comparisons to other installments in the ryan series .
the most offensive thing about the movie is that hollywood expects people to pay to see it .
you do n't know whether to admire the film 's stately nature and call it classicism or be exasperated by a noticeable lack of pace .
the author 's devotees will probably find it fascinating ; others may find it baffling .
sinks so low in a poorly played game of absurd plot twists , idiotic court maneuvers and stupid characters that even freeman ca n't save it .
this is the kind of movie that gets a quick release before real contenders arrive in september .
it 's also built on a faulty premise , one it follows into melodrama and silliness .
shafer 's feature does n't offer much in terms of plot or acting .
feels familiar and tired .
the movie is too impressed with its own solemn insights to work up much entertainment value .
brosnan 's finest non-bondish performance yet fails to overcome the film 's manipulative sentimentality and annoying stereotypes .
an even more predictable , cliche-ridden endeavor than its predecessor .
to say that this vapid vehicle is downright doltish and uneventful is just as obvious as telling a country skunk that he has severe body odor .
it 's not too much of anything .
one of the most highly-praised disappointments i 've had the misfortune to watch in quite some time .
everything was as superficial as the forced new jersey lowbrow accent uma had .
memorable for a peculiar malaise that renders its tension flaccid and , by extension , its surprises limp and its resolutions ritual .
not a strike against yang 's similarly themed yi yi , but i found what time ?
everything that was right about blade is wrong in its sequel .
i have a confession to make : i did n't particularly like e.t. the first time i saw it as a young boy .
this is just lazy writing .
while the ensemble player who gained notice in guy ritchie 's lock , stock and two smoking barrels and snatch has the bod , he 's unlikely to become a household name on the basis of his first starring vehicle .
trailer trash cinema so uncool the only thing missing is the `` gadzooks ! ''
and it 's harder still to believe that anyone in his right mind would want to see the it .
mr. deeds is not really a film as much as it is a loose collection of not-so-funny gags , scattered moments of lazy humor .
just a string of stale gags , with no good inside dope , and no particular bite .
one big blustery movie where nothing really happens .
but if the essence of magic is its make-believe promise of life that soars above the material realm , this is the opposite of a truly magical movie .
a loud , brash and mainly unfunny high school comedy .
watching junk like this induces a kind of abstract guilt , as if you were paying dues for good books unread , fine music never heard .
this is a remake by the numbers , linking a halfwit plot to a series of standup routines in which wilson and murphy show how funny they could have been in a more ambitious movie .
the jokes are telegraphed so far in advance they must have been lost in the mail .
when a movie asks you to feel sorry for mick jagger 's sex life , it already has one strike against it .
generic thriller junk .
while some of the camera work is interesting , the film 's mid-to-low budget is betrayed by the surprisingly shoddy makeup work .
apparently , romantic comedy with a fresh point of view just does n't figure in the present hollywood program .
or maybe `` how will you feel after an 88-minute rip-off of the rock with action confined to slo-mo gun firing and random glass-shattering ? ''
the things this movie tries to get the audience to buy just wo n't fly with most intelligent viewers .
by the time the surprise ending is revealed , interest can not be revived .
a sloppy slapstick throwback to long gone bottom-of-the-bill fare like the ghost and mr. chicken .
scotland , pa is entirely too straight-faced to transcend its clever concept .
the movie is about as deep as that sentiment .
brainless , but enjoyably over-the-top , the retro gang melodrama , deuces wild represents fifties teen-gang machismo in a way that borders on rough-trade homo-eroticism .
in other words , about as bad a film you 're likely to see all year .
as violent , profane and exploitative as the most offensive action flick you 've ever seen .
-lrb- evans is -rrb- a fascinating character , and deserves a better vehicle than this facetious smirk of a movie .
the plot grows thin soon , and you find yourself praying for a quick resolution .
this is rote spookiness , with nary an original idea -lrb- or role , or edit , or score , or anything , really -rrb- in sight , and the whole of the proceedings beg the question ` why ? '
feels aimless for much of its running time , until late in the film when a tidal wave of plot arrives , leaving questions in its wake .
a few zingers aside , the writing is indifferent , and jordan brady 's direction is prosaic .
the corpse count ultimately overrides what little we learn along the way about vicarious redemption .
a wishy-washy melodramatic movie that shows us plenty of sturm und drung , but explains its characters ' decisions only unsatisfactorily .
a tired , unnecessary retread ... a stale copy of a picture that was n't all that great to begin with .
is n't as sharp as the original ... despite some visual virtues , ` blade ii ' just does n't cut it .
enigma lacks it .
too bad none of it is funny .
-lrb- n -rrb- o matter how much good will the actors generate , showtime eventually folds under its own thinness .
after sitting through this sloppy , made-for-movie comedy special , it makes me wonder if lawrence hates criticism so much that he refuses to evaluate his own work .
obviously , a lot of people wasted a lot of their time -lrb- including mine -rrb- on something very inconsequential .
should have gone straight to video .
koepp 's screenplay is n't nearly surprising or clever enough to sustain a reasonable degree of suspense on its own .
you do n't need to know your ice-t 's from your cool-j 's to realize that as far as these shootings are concerned , something is rotten in the state of california .
completely awful iranian drama ... as much fun as a grouchy ayatollah in a cold mosque .
suspend your disbelief here and now , or you 'll be shaking your head all the way to the credits .
nothing more than four or five mild chuckles surrounded by 86 minutes of overly-familiar and poorly-constructed comedy .
the satire is just too easy to be genuinely satisfying .
the biggest problem i have -lrb- other than the very sluggish pace -rrb- is we never really see her esther blossom as an actress , even though her talent is supposed to be growing .
a zombie movie in every sense of the word -- mindless , lifeless , meandering , loud , painful , obnoxious .
-lrb- moore 's -rrb- better at fingering problems than finding solutions .
is there a group of more self-absorbed women than the mother and daughters featured in this film ?
there are cheesy backdrops , ridiculous action sequences , and many tired jokes about men in heels .
-lrb- green is -rrb- the comedy equivalent of saddam hussein , and i 'm just about ready to go to the u.n. and ask permission for a preemptive strike .
once again , director chris columbus takes a hat-in-hand approach to rowling that stifles creativity and allows the film to drag on for nearly three hours .
some of the characters die and others do n't , and the film pretends that those living have learned some sort of lesson , and , really , nobody in the viewing audience cares .
long before it 's over , you 'll be thinking of 51 ways to leave this loser .
the town has kind of an authentic feel , but each one of these people stand out and everybody else is in the background and it just seems manufactured to me and artificial .
a complete waste of time .
resident evil is n't a product of its cinematic predecessors so much as an mtv , sugar hysteria , and playstation cocktail .
frankly , it 's kind of insulting , both to men and women .
in addition to the overcooked , ham-fisted direction , which has all the actors reaching for the back row , the dialogue sounds like horrible poetry .
it ends up being neither , and fails at both endeavors .
so putrid it is not worth the price of the match that should be used to burn every print of the film .
if swimfan does catch on , it may be because teens are looking for something to make them laugh .
a shame that stealing harvard is too busy getting in its own way to be anything but frustrating , boring , and forgettable .
a clichéd and shallow cautionary tale about the hard-partying lives of gay men .
the waterlogged script plumbs uncharted depths of stupidity , incoherence and sub-sophomoric sexual banter .
while the film is competent , it 's also uninspired , lacking the real talent and wit to elevate it beyond its formula to the level of classic romantic comedy to which it aspires .
the locale ... remains far more interesting than the story at hand .
releasing a film with the word ` dog ' in its title in january lends itself to easy jokes and insults , and snow dogs deserves every single one of them .
shankman ... and screenwriter karen janszen bungle their way through the narrative as if it were a series of bible parables and not an actual story .
cinematic poo .
i ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents ...
buries an interesting storyline about morality and the choices we make underneath such a mountain of clichés and borrowed images that it might more accurately be titled mr. chips off the old block .
the sweetest thing is expressly for idiots who do n't care what kind of sewage they shovel into their mental gullets to simulate sustenance .
the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based ` drama , ' but the emphasis on the latter leaves blue crush waterlogged .
a disaster of a drama , saved only by its winged assailants .
the story itself is actually quite vapid .
this orange has some juice , but it 's far from fresh-squeezed .
he does n't , however , deliver nearly enough of the show 's trademark style and flash .
no amount of good intentions is able to overcome the triviality of the story .
nothing here seems as funny as it did in analyze this , not even joe viterelli as de niro 's right-hand goombah .
too predictably , in fact .
it is that rare combination of bad writing , bad direction and bad acting -- the trifecta of badness .
one of the more glaring signs of this movie 's servitude to its superstar is the way it skirts around any scenes that might have required genuine acting from ms. spears .
jaw-droppingly superficial , straining to get by on humor that is not even as daring as john ritter 's glory days on three 's company .
lacks the spirit of the previous two , and makes all those jokes about hos and even more unmentionable subjects seem like mere splashing around in the muck .
if you go into the theater expecting a scary , action-packed chiller , you might soon be looking for a sign .
if this is cinema , i pledge allegiance to cagney and lacey .
could this be the first major studio production shot on video tape instead of film ?
it 's loud and boring ; watching it is like being trapped at a bad rock concert .
i suspect that you 'll be as bored watching morvern callar as the characters are in it .
this ill-conceived and expensive project winds up looking like a bunch of talented thesps slumming it .
despite the opulent lushness of every scene , the characters never seem to match the power of their surroundings .
the movie is virtually without context -- journalistic or historical .
-lrb- the film 's -rrb- taste for `` shock humor '' will wear thin on all but those weaned on the comedy of tom green and the farrelly brothers .
as a remake , it 's a pale imitation .
only about as sexy and dangerous as an actress in a role that reminds at every turn of elizabeth berkley 's flopping dolphin-gasm .
i 'm left slightly disappointed that it did n't .
entertaining enough , but nothing new
the predominantly amateur cast is painful to watch , so stilted and unconvincing are the performances .
a non-britney person might survive a screening with little harm done , except maybe for the last 15 minutes , which are as maudlin as any after-school special you can imagine .
piccoli 's performance is amazing , yes , but the symbols of loss and denial and life-at-arm 's - length in the film seem irritatingly transparent .
no film could possibly be more contemptuous of the single female population .
it 's clear why deuces wild , which was shot two years ago , has been gathering dust on mgm 's shelf .
drowning 's too good for this sucker .
if i could have looked into my future and saw how bad this movie was , i would go back and choose to skip it .
as inept as big-screen remakes of the avengers and the wild wild west .
everything -- even life on an aircraft carrier -- is sentimentalized .
it 's an odd show , pregnant with moods , stillborn except as a harsh conceptual exercise .
would benigni 's italian pinocchio have been any easier to sit through than this hastily dubbed disaster ?
this is a fudged opportunity of gigantic proportions -- a lunar mission with no signs of life .
there 's an admirable rigor to jimmy 's relentless anger , and to the script 's refusal of a happy ending , but as those monologues stretch on and on , you realize there 's no place for this story to go but down .
i 'll stay with the stage versions , however , which bite cleaner , and deeper .
it 's a movie that ends with truckzilla , for cryin ' out loud .
chalk it up as the worst kind of hubristic folly .
they just do n't work in concert .
an unintentionally surreal kid 's picture ... in which actors in bad bear suits enact a sort of inter-species parody of a vh1 behind the music episode .
it 's not original enough .
the adventures of pluto nash is a whole lot of nada .
this 100-minute movie only has about 25 minutes of decent material .
attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say , outdated , it 's a wonder that he could n't have brought something fresher to the proceedings simply by accident .
plot , characters , drama , emotions , ideas -- all are irrelevant to the experience of seeing the scorpion king .
stripped almost entirely of such tools as nudity , profanity and violence , labute does manage to make a few points about modern man and his problematic quest for human connection .
that neither protagonist has a distinguishable condition hardly matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .
barney 's ideas about creation and identity do n't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance test built around an hour 's worth of actual material .
build some robots , haul 'em to the theatre with you for the late show , and put on your own mystery science theatre 3000 tribute to what is almost certainly going to go down as the worst -- and only -- killer website movie of this or any other year .
bottom-rung new jack city wannabe .
despite the fact that this film was n't as bad as i thought it was going to be , it 's still not a good movie
but this time , the old mib label stands for milder is n't better .
forget the misleading title , what 's with the unexplained baboon cameo ?
it 's clotted with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long .
yet another entry in the sentimental oh-those-wacky-brits genre that was ushered in by the full monty and is still straining to produce another smash hit .
every conceivable mistake a director could make in filming opera has been perpetrated here .
the film 's desire to be liked sometimes undermines the possibility for an exploration of the thornier aspects of the nature\/nurture argument in regards to homosexuality .
a standard police-oriented drama that , were it not for de niro 's participation , would have likely wound up a tnt original .
little more than a well-mounted history lesson .
this tale has been told and retold ; the races and rackets change , but the song remains the same .
novak contemplates a heartland so overwhelmed by its lack of purpose that it seeks excitement in manufactured high drama .
trying to figure out the rules of the country bear universe -- when are bears bears and when are they like humans , only hairier -- would tax einstein 's brain .
you have no affinity for most of the characters .
its salient points are simultaneously buried , drowned and smothered in the excesses of writer-director roger avary .
a relentless , bombastic and ultimately empty world war ii action flick .
an exceptionally dreary and overwrought bit of work , every bit as imperious as katzenberg 's the prince of egypt from 1998 .
for a story set at sea , ghost ship is pretty landbound , with its leaden acting , dull exposition and telegraphed ` surprises . '
a muddy psychological thriller rife with miscalculations .
is it possible for a documentary to be utterly entranced by its subject and still show virtually no understanding of it ?
the movie 's plot is almost entirely witless and inane , carrying every gag two or three times beyond its limit to sustain a laugh .
in between all the emotional seesawing , it 's hard to figure the depth of these two literary figures , and even the times in which they lived .
an exit sign , that is .
just dreadful .
the advantage of a postapocalyptic setting is that it can be made on the cheap .
yet another genre exercise , gangster no. 1 is as generic as its title .
before it collapses into exactly the kind of buddy cop comedy it set out to lampoon , anyway .
... while dark water is n't a complete wash -lrb- no pun intended -rrb- , watched side-by-side with ringu , it ultimately comes off as a pale successor .
the script 's judgment and sense of weight is way , way off .
despite its dry wit and compassion , the film suffers from a philosophical emptiness and maddeningly sedate pacing .
is a mess .
adroit but finally a trifle flat , mad love does n't galvanize its outrage the way , say , jane campion might have done , but at least it possesses some .
hip-hop prison thriller of stupefying absurdity .
a domestic melodrama with weak dialogue and biopic cliches .
almost as offensive as `` freddy got fingered . ''
imagine susan sontag falling in love with howard stern .
there 's no point of view , no contemporary interpretation of joan 's prefeminist plight , so we 're left thinking the only reason to make the movie is because present standards allow for plenty of nudity .
a listless sci-fi comedy in which eddie murphy deploys two guises and elaborate futuristic sets to no particularly memorable effect .
the sequel plays out like a flimsy excuse to give blade fans another look at wesley snipes ' iconic hero doing battle with dozens of bad guys -- at once .
wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time .
steven soderbergh does n't remake andrei tarkovsky 's solaris so much as distill it .
if routine action and jokes like this are your cup of tea , then pay your $ 8 and get ready for the big shear .
tale will be all too familiar for anyone who 's seen george roy hill 's 1973 film , `` the sting . ''
the movie 's blatant derivativeness is one reason it 's so lackluster .
like a grinning jack o ' lantern , its apparent glee is derived from a lobotomy , having had all its vital essence scooped out and discarded .
done in mostly by a weak script that ca n't support the epic treatment .
unfortunately , kapur modernizes a.e.w. mason 's story to suit the sensibilities of a young american , a decision that plucks `` the four feathers '' bare .
deserving of its critical backlash and more .
do we really need another film that praises female self-sacrifice ?
a battle between bug-eye theatre and dead-eye matinee .
it 's hard to say who might enjoy this , are there tolstoy groupies out there ?
the screenplay is hugely overwritten , with tons and tons of dialogue -- most of it given to children .
entertains not so much because of its music or comic antics , but through the perverse pleasure of watching disney scrape the bottom of its own cracker barrel .
this is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors .
it 's a strange film , one that was hard for me to warm up to .
a series of immaculately composed shots of patch adams quietly freaking out does not make for much of a movie .
all the queen 's men is a throwback war movie that fails on so many levels , it should pay reparations to viewers .
the exclamation point seems to be the only bit of glee you 'll find in this dreary mess .
a banal , virulently unpleasant excuse for a romantic comedy .
skip the film and buy the philip glass soundtrack cd .
... unspeakably , unbearably dull , featuring reams of flatly delivered dialogue and a heroine who comes across as both shallow and dim-witted .
forages for audience sympathy like a temperamental child begging for attention , giving audiences no reason to truly care for its decrepit freaks beyond the promise of a reprieve from their incessant whining .
... hypnotically dull .
we ca n't accuse kung pow for misfiring , since it is exactly what it wants to be : an atrociously , mind-numbingly , indescribably bad movie .
but then again , i hate myself most mornings .
although purportedly a study in modern alienation , it 's really little more than a particularly slanted , gay s\/m fantasy , enervating and deadeningly drawn-out .
it winds up moving in many directions as it searches -lrb- vainly , i think -rrb- for something fresh to say .
it 's as if de palma spent an hour setting a fancy table and then served up kraft macaroni and cheese .
rifkin no doubt fancies himself something of a hubert selby jr. , but there is n't an ounce of honest poetry in his entire script ; it 's simply crude and unrelentingly exploitative .
the acting is just fine , but there 's not enough substance here to sustain interest for the full 90 minutes , especially with the weak payoff .
-lrb- a -rrb- rather thinly-conceived movie .
the film does n't sustain its initial promise with a jarring , new-agey tone creeping into the second half
a smug and convoluted action-comedy that does n't allow an earnest moment to pass without reminding audiences that it 's only a movie .
um ... is n't that the basis for the entire plot ?
a terrible movie that some people will nevertheless find moving .
to blandly go where we went 8 movies ago ...
the film 's lack of personality permeates all its aspects -- from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed .
rosenthal -lrb- halloween ii -rrb- seems to have forgotten everything he ever knew about generating suspense .
` matrix ' - style massacres erupt throughout ... but the movie has a tougher time balancing its violence with kafka-inspired philosophy .
-lrb- toback 's -rrb- fondness for fancy split-screen , stuttering editing and pompous references to wittgenstein and kirkegaard ... blends uneasily with the titillating material .
the type of dumbed-down exercise in stereotypes that gives the -lrb- teen comedy -rrb- genre a bad name .
pair that with really poor comedic writing ... and you 've got a huge mess .
the audience when i saw this one was chuckling at all the wrong times , and that 's a bad sign when they 're supposed to be having a collective heart attack .
a dim-witted and lazy spin-off of the animal planet documentary series , crocodile hunter is entertainment opportunism at its most glaring .
... an airless , prepackaged julia roberts wannabe that stinks so badly of hard-sell image-mongering you 'll wonder if lopez 's publicist should share screenwriting credit .
will anyone who is n't a fangoria subscriber be excited that it has n't gone straight to video ?
like rudy yellow lodge , eyre needs to take a good sweat to clarify his cinematic vision before his next creation and remember the lessons of the trickster spider .
femme fatale offers nothing more than a bait-and-switch that is beyond playing fair with the audience .
just a bunch of good actors flailing around in a caper that 's neither original nor terribly funny .
more likely to have you scratching your head than hiding under your seat .
fairly run-of-the-mill .
the secrets of time travel will have been discovered , indulged in and rejected as boring before i see this piece of crap again .
the script boasts some tart tv-insider humor , but the film has not a trace of humanity or empathy .
though it 's not very well shot or composed or edited , the score is too insistent and the dialogue is frequently overwrought and crudely literal , the film shatters you in waves .
due to stodgy , soap opera-ish dialogue , the rest of the cast comes across as stick figures reading lines from a teleprompter .
it 's so crammed with scenes and vistas and pretty moments that it 's left a few crucial things out , like character development and coherence .
a sometimes incisive and sensitive portrait that is undercut by its awkward structure and a final veering toward melodrama .
no thanks .
action - mechanical .
another wholly unnecessary addition to the growing , moldering pile of , well , extreme stunt pictures .
this would have been better than the fiction it has concocted , and there still could have been room for the war scenes .
it 's a bad sign in a thriller when you instantly know whodunit .
while the production details are lavish , film has little insight into the historical period and its artists , particularly in how sand developed a notorious reputation .
a sleek advert for youthful anomie that never quite equals the sum of its pretensions .
some movies were made for the big screen , some for the small screen , and some , like ballistic : ecks vs. sever , were made for the palm screen .
the whole film has this sneaky feel to it -- as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product .
an inelegant combination of two unrelated shorts that falls far short of the director 's previous work in terms of both thematic content and narrative strength .
the action clichés just pile up .
not only does the thoroughly formulaic film represent totally exemplify middle-of-the-road mainstream , it also represents glossy hollywood at its laziest .
puportedly `` based on true events , '' a convolution of language that suggests it 's impossible to claim that it is `` based on a true story '' with a straight face .
vulgar is too optimistic a title .
`` the adventures of pluto nash '' is a big time stinker .
writer-director stephen gaghan has made the near-fatal mistake of being what the english call ` too clever by half . '
for the future , one hopes mr. plympton will find room for one more member of his little band , a professional screenwriter .
if you 're not a fan , it might be like trying to eat brussels sprouts .
it all seemed wasted like deniro 's once promising career and the once grand long beach boardwalk .
a potentially good comic premise and excellent cast are terribly wasted .
if you 've got a house full of tots -- do n't worry , this will be on video long before they grow up and you can wait till then .
eddie murphy and owen wilson have a cute partnership in i spy , but the movie around them is so often nearly nothing that their charm does n't do a load of good .
the title , alone , should scare any sane person away .
for all the time we spend with these people , we never really get inside of them .
the plot is paper-thin and the characters are n't interesting enough to watch them go about their daily activities for two whole hours .
the movie barely makes sense , with its unbelievable naïveté and arbitrary flashbacks .
feeble comedy .
no amount of blood and disintegrating vampire cadavers can obscure this movie 's lack of ideas .
... the good and different idea -lrb- of middle-aged romance -rrb- is not handled well and , except for the fine star performances , there is little else to recommend `` never again . ''
would that greengrass had gone a tad less for grit and a lot more for intelligibility .
sadly , as blood work proves , that was a long , long time ago .
the first mistake , i suspect , is casting shatner as a legendary professor and kunis as a brilliant college student -- where 's pauly shore as the rocket scientist ?
twenty-three movies into a mostly magnificent directorial career , clint eastwood 's efficiently minimalist style finally has failed him .
boring and meandering .
while certainly more naturalistic than its australian counterpart , amari 's film falls short in building the drama of lilia 's journey .
make chan 's action sequences boring .
simply put , there should have been a more compelling excuse to pair susan sarandon and goldie hawn .
proves a lovely trifle that , unfortunately , is a little too in love with its own cuteness .
but its storytelling prowess and special effects are both listless .
... liotta is put in an impossible spot because his character 's deceptions ultimately undo him and the believability of the entire scenario .
if there was ever a movie where the upbeat ending feels like a copout , this is the one .
... the cast portrays their cartoon counterparts well ... but quite frankly , scoob and shag do n't eat enough during the film . '
the sheer dumbness of the plot -lrb- other than its one good idea -rrb- and the movie 's inescapable air of sleaziness get you down .
if you saw benigni 's pinocchio at a public park , you 'd grab your kids and run and then probably call the police .
it is dark , brooding and slow , and takes its central idea way too seriously .
i do n't think this movie loves women at all .
features nonsensical and laughable plotting , wooden performances , ineptly directed action sequences and some of the worst dialogue in recent memory .
too smart to ignore but a little too smugly superior to like , this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot .
the director 's many dodges and turns add up to little more than a screenful of gamesmanship that 's low on both suspense and payoff .
... no charm , no laughs , no fun , no reason to watch .
thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film .
what might have emerged as hilarious lunacy in the hands of woody allen or mel brooks -lrb- at least during their '70s heyday -rrb- comes across as lame and sophomoric in this debut indie feature .
it would take a complete moron to foul up a screen adaptation of oscar wilde 's classic satire .
jackass is a vulgar and cheap-looking version of candid camera staged for the marquis de sade set .
one well-timed explosion in a movie can be a knockout , but a hundred of them can be numbing .
where their heads were is anyone 's guess .
too much of nemesis has a tired , talky feel .
given the fact that virtually no one is bound to show up at theatres for it , the project should have been made for the tube .
with more character development this might have been an eerie thriller ; with better payoffs , it could have been a thinking man 's monster movie .
but ... in trying to capture the novel 's deeper intimate resonances , the film has -- ironically - distanced us from the characters .
queen of the damned as you might have guessed , makes sorry use of aaliyah in her one and only starring role -- she does little here but point at things that explode into flame .
a loud , witless mess that has none of the charm and little of the intrigue from the tv series .
a cartoon ?
a crass and insulting homage to great films like some like it hot and the john wayne classics .
the problem with `` xxx '' is that its own action is n't very effective .
with a romantic comedy plotline straight from the ages , this cinderella story does n't have a single surprise up its sleeve .
... while certainly clever in spots , this too-long , spoofy update of shakespeare 's macbeth does n't sustain a high enough level of invention .
no new plot conceptions or environmental changes , just different bodies for sharp objects to rip through .
insufferably naive .
these are textbook lives of quiet desperation .
far too clever by half , howard 's film is really a series of strung-together moments , with all the spaces in between filled with fantasies , daydreams , memories and one fantastic visual trope after another .
this is the case of a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience .
it 's provocative stuff , but the speculative effort is hampered by taylor 's cartoonish performance and the film 's ill-considered notion that hitler 's destiny was shaped by the most random of chances .
a movie that ca n't get sufficient distance from leroy 's delusions to escape their maudlin influence .
though harris is affecting at times , he can not overcome the sense that pumpkin is a mere plot pawn for two directors with far less endearing disabilities .
schneidermeister ... makin ' a fool of himself ... losin ' his fan base ...
in this case zero .
the young stars are too cute ; the story and ensuing complications are too manipulative ; the message is too blatant ; the resolutions are too convenient .
by the time the plot grinds itself out in increasingly incoherent fashion , you might be wishing for a watch that makes time go faster rather than the other way around .
in its own way , joshua is as blasphemous and nonsensical as a luis buñuel film without the latter 's attendant intelligence , poetry , passion , and genius .
perhaps a better celebration of these unfairly dismissed heroes would be a film that is n't this painfully forced , false and fabricated .
... you can be forgiven for realizing that you 've spent the past 20 minutes looking at your watch and waiting for frida to just die already .
if it were any more of a turkey , it would gobble in dolby digital stereo .
amid the shock and curiosity factors , the film is just a corny examination of a young actress trying to find her way .
a depraved , incoherent , instantly disposable piece of hackery .
the animation and game phenomenon that peaked about three years ago is actually dying a slow death , if the poor quality of pokemon 4 ever is any indication .
what 's really sad is to see two academy award winning actresses -lrb- and one academy award winning actor -rrb- succumb to appearing in this junk that 's tv sitcom material at best .
-lrb- jackson and bledel -rrb- seem to have been picked not for their acting chops , but for their looks and appeal to the pre-teen crowd .
whatever the movie 's sentimental , hypocritical lessons about sexism , its true colors come out in various wet t-shirt and shower scenes .
gussied up with so many distracting special effects and visual party tricks that it 's not clear whether we 're supposed to shriek or laugh .
if only it had the story to match .
the trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than , as was more likely , a victim of mental illness .
the story really has no place to go since simone is not real -- she ca n't provide any conflict .
all the sensuality , all the eroticism of a good vampire tale has been , pardon the pun , sucked out and replaced by goth goofiness .
-lrb- carvey 's -rrb- characters are both overplayed and exaggerated , but then again , subtlety has never been his trademark .
if divine secrets of the ya-ya sisterhood suffers from a ploddingly melodramatic structure , it comes to life in the performances .
rashomon-for-dipsticks tale .
it takes a really long , slow and dreary time to dope out what tuck everlasting is about .
it 's splash without the jokes .
you begin to long for the end credits as the desert does for rain .
did no one on the set have a sense of humor , or did they not have the nerve to speak up ?
cinematic pyrotechnics aside , the only thing avary seems to care about are mean giggles and pulchritude .
the story is lacking any real emotional impact , and the plot is both contrived and cliched .
but no. .
it never plays as dramatic even when dramatic things happen to people .
i have n't seen such self-amused trash since freddy got fingered .
a cross between blow and boyz n the hood , this movie strives to be more , but does n't quite get there .
it 's a bad action movie because there 's no rooting interest and the spectacle is grotesque and boring .
a prolonged extrusion of psychopathic pulp .
little action , almost no suspense or believable tension , one-dimensional characters up the wazoo and sets that can only be described as sci-fi generic .
the sum of all fears pretends to be a serious exploration of nuclear terrorism , but it 's really nothing more than warmed-over cold war paranoia .
rather , pity anyone who sees this mishmash .
much like robin williams , death to smoochy has already reached its expiration date .
after all , it 'll probably be in video stores by christmas , and it might just be better suited to a night in the living room than a night at the movies .
it concentrates far too much on the awkward interplay and utter lack of chemistry between chan and hewitt .
bad company .
swiftly deteriorates into a terribly obvious melodrama and rough-hewn vanity project for lead actress andie macdowell .
an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay .
otherwise , this could be a passable date film .
leaves viewers out in the cold and undermines some phenomenal performances .
... better described as a ghost story gone badly awry .
the movie itself appears to be running on hypertime in reverse as the truly funny bits get further and further apart .
does n't get the job done , running off the limited chemistry created by ralph fiennes and jennifer lopez .
a movie that 's about as overbearing and over-the-top as the family it depicts .
elegantly crafted but emotionally cold , a puzzle whose intricate construction one can admire but is difficult to connect with on any deeper level .
it 's hard to understand why anyone in his right mind would even think to make the attraction a movie .
sc2 is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit , yet it 's geared toward an audience full of masters of both .
donovan ... squanders his main asset , jackie chan , and fumbles the vital action sequences .
this angst-ridden territory was covered earlier and much better in ordinary people .
in spite of featuring a script credited to no fewer than five writers , apparently nobody here bothered to check it twice .
as underwater ghost stories go , below casts its spooky net out into the atlantic ocean and spits it back , grizzled and charred , somewhere northwest of the bermuda triangle .
despite slick production values and director roger michell 's tick-tock pacing , the final effect is like having two guys yelling in your face for two hours .
well , jason 's gone to manhattan and hell , i guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels -lrb- hey , do n't shoot the messenger -rrb- .
brisk hack job .
it does n't offer audiences any way of gripping what its point is , or even its attitude toward its subject .
as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film 's creepy , clean-cut dahmer -lrb- jeremy renner -rrb- and fiendish acts that no amount of earnest textbook psychologizing can bridge .
as earnest as a community-college advertisement , american chai is enough to make you put away the guitar , sell the amp , and apply to medical school .
and second , what 's with all the shooting ?
billy crystal and robert de niro sleepwalk through vulgarities in a sequel you can refuse .
shrewd but pointless .
not counting a few gross-out comedies i 've been trying to forget , this is the first film in a long time that made me want to bolt the theater in the first 10 minutes .
all of the elements are in place for a great film noir , but director george hickenlooper 's approach to the material is too upbeat .
friday after next is a lot more bluster than bite .
opera on film is never satisfactory .
but , like silence , it 's a movie that gets under your skin .
gooding and coburn are both oscar winners , a fact which , as you watch them clumsily mugging their way through snow dogs , seems inconceivable .
loud , silly , stupid and pointless .
mctiernan 's remake may be lighter on its feet -- the sober-minded original was as graceful as a tap-dancing rhino -- but it is just as boring and as obvious .
if you 're looking to rekindle the magic of the first film , you 'll need a stronger stomach than us .
an average b-movie with no aspirations to be anything more .
a film that plays things so nice 'n safe as to often play like a milquetoast movie of the week blown up for the big screen .
the movie straddles the fence between escapism and social commentary , and on both sides it falls short .
only masochistic moviegoers need apply .
is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic ?
statham employs an accent that i think is supposed to be an attempt at hardass american but sometimes just lapses into unhidden british .
a yawn-provoking little farm melodrama .
for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs. spy film the sum of all fears , starring ben affleck , seem downright hitchcockian .
kicks off with an inauspicious premise , mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper .
feels strangely hollow at its emotional core .
it gets old quickly .
feels less like a change in -lrb- herzog 's -rrb- personal policy than a half-hearted fluke .
he thinks the film is just as much a document about him as it is about the subject .
it all starts to smack of a hallmark hall of fame , with a few four letter words thrown in that are generally not heard on television .
hollywood ending just is n't very funny .
upper teens may get cynical .
it might not be 1970s animation , but everything else about it is straight from the saturday morning cartoons -- a retread story , bad writing , and the same old silliness .
a gushy episode of `` m \* a \* s \* h '' only this time from an asian perspective .
bread , my sweet has so many flaws it would be easy for critics to shred it .
you 'll forget about it by monday , though , and if they 're old enough to have developed some taste , so will your kids .
you could easily mistake it for a sketchy work-in-progress that was inexplicably rushed to the megaplexes before its time .
it 's hard to imagine any recent film , independent or otherwise , that makes as much of a mess as this one .
rumor , a muddled drama about coming to terms with death , feels impersonal , almost generic .
works on the whodunit level as its larger themes get lost in the murk of its own making
the movie is not as terrible as the synergistic impulse that created it .
the characters are based on stock clichés , and the attempt to complicate the story only defies credibility .
it 's petty thievery like this that puts flimsy flicks like this behind bars
with or without ballast tanks , k-19 sinks to a harrison ford low .
we can tell what it is supposed to be , but ca n't really call it a work of art .
sad nonsense , this .
every note rings false .
the action scenes have all the suspense of a 20-car pileup , while the plot holes are big enough for a train car to drive through -- if kaos had n't blown them all up .
eisenstein lacks considerable brio for a film about one of cinema 's directorial giants .
like being able to hit on a 15-year old when you 're over 100 .
formulaic to the 51st power , more like .
when your subject is illusion versus reality , should n't the reality seem at least passably real ?
the results are far more alienating than involving .
these characters become wearisome .
i could have used my two hours better watching being john malkovich again .
comes across as a relic from a bygone era , and its convolutions ... feel silly rather than plausible .
the movie is as padded as allen 's jelly belly .
the story is bogus and its characters tissue-thin .
more busy than exciting , more frantic than involving , more chaotic than entertaining .
although ... visually striking and slickly staged , it 's also cold , grey , antiseptic and emotionally desiccated .
you leave feeling like you 've endured a long workout without your pulse ever racing .
one-sided documentary offers simplistic explanations to a very complex situation .
instead , it 'll only put you to sleep .
the only way to tolerate this insipid , brutally clueless film might be with a large dose of painkillers .
the comedy is nonexistent .
... comes alive only when it switches gears to the sentimental .
spreads itself too thin , leaving these actors , as well as the members of the commune , short of profound characterizations
-lrb- less a movie than -rrb- an appalling , odoriferous thing ... so rotten in almost every single facet of production that you 'll want to crawl up your own \*\*\* in embarrassment .
an awkward hybrid of genres that just does n't work .
a fifty car pileup of cliches .
one of the most unpleasant things the studio has ever produced .
does n't deliver a great story , nor is the action as gripping as in past seagal films .
a rehash of every gangster movie from the past decade .
the somber pacing and lack of dramatic fireworks make green dragon seem more like medicine than entertainment .
below is well below expectations .
a generic international version of a typical american horror film .
includes too much obvious padding .
the movie 's ultimate point -- that everyone should be themselves -- is trite , but the screenwriter and director michel gondry restate it to the point of ridiculousness .
in the wake of saving private ryan , black hawk down and we were soldiers , you are likely to be as heartily sick of mayhem as cage 's war-weary marine .
-- is a crime that should be punishable by chainsaw .
the only thing scary about feardotcom is that the filmmakers and studio are brazen enough to attempt to pass this stinker off as a scary movie .
it has the requisite faux-urban vibe and hotter-two-years-ago rap and r&b names and references .
the country bears wastes an exceptionally good idea .
the movie would seem less of a trifle if ms. sugarman followed through on her defiance of the saccharine .
much of the cast is stiff or just plain bad .
busy urban comedy is clearly not zhang 's forte , his directorial touch is neither light nor magical enough to bring off this kind of whimsy .
imagine the cleanflicks version of ` love story , ' with ali macgraw 's profanities replaced by romance-novel platitudes .
such a fine idea for a film , and such a stultifying , lifeless execution .
return to neverland manages to straddle the line between another classic for the company and just another run-of-the-mill disney sequel intended for the home video market .
feels at times like a giant commercial for universal studios , where much of the action takes place .
a small fortune in salaries and stunt cars might have been saved if the director , tom dey , had spliced together bits and pieces of midnight run and 48 hours -lrb- and , for that matter , shrek -rrb- .
the film is so busy making reference to other films and trying to be other films that it fails to have a heart , mind or humor of its own .
this is very much of a mixed bag , with enough negatives to outweigh the positives .
ringu is a disaster of a story , full of holes and completely lacking in chills .
but it would be better to wait for the video .
dreary tale of middle-class angst
to the filmmakers , ivan is a prince of a fellow , but he comes across as shallow and glib though not mean-spirited , and there 's no indication that he 's been responsible for putting together any movies of particular value or merit .
the movie 's something-borrowed construction feels less the product of loving , well integrated homage and more like a mere excuse for the wan , thinly sketched story .
none of birthday girl 's calculated events take us by surprise ...
there are many definitions of ` time waster ' but this movie must surely be one of them .
this is rote drivel aimed at mom and dad 's wallet .
what more can be expected from a college comedy that 's target audience has n't graduated from junior high school ?
it 's quite diverting nonsense .
aggravating and tedious .
i 'm sorry to say that this should seal the deal - arnold is not , nor will he be , back .
a moving picture that does not move .
this ludicrous film is predictable at every turn .
just another combination of bad animation and mindless violence ... lacking the slightest bit of wit or charm .
the superior plotline is n't quite enough to drag along the dead -lrb- water -rrb- weight of the other .
if you want a movie time trip , the 1960 version is a far smoother ride .
an occasionally interesting but mostly repetitive look at a slice of counterculture that might be best forgotten .
it 's an 88-minute highlight reel that 's 86 minutes too long .
return to never land is much more p.c. than the original version -lrb- no more racist portraits of indians , for instance -rrb- , but the excitement is missing .
the only thing `` swept away '' is the one hour and thirty-three minutes spent watching this waste of time .
while the importance of being earnest offers opportunities for occasional smiles and chuckles , it does n't give us a reason to be in the theater beyond wilde 's wit and the actors ' performances .
contrived , awkward and filled with unintended laughs , the film shows signs that someone other than the director got into the editing room and tried to improve things by making the movie go faster .
this picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer .
so boring that even its target audience talked all the way through it .
louiso lets the movie dawdle in classic disaffected-indie-film mode , and brother hoffman 's script stumbles over a late-inning twist that just does n't make sense .
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 .
there are few things more frustrating to a film buff than seeing an otherwise good movie marred beyond redemption by a disastrous ending .
the film lapses too often into sugary sentiment and withholds delivery on the pell-mell pyrotechnics its punchy style promises .
potty-mouthed enough for pg-13 , yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .
does n't add up to much .
while it is welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion , lan yu never catches dramatic fire .
the movie is silly beyond comprehension , and even if it were n't silly , it would still be beyond comprehension .
this film is too busy hitting all of its assigned marks to take on any life of its own .
one of the most plain , unimaginative romantic comedies i 've ever seen .
it all comes down to whether you can tolerate leon barlow .
90 punitive minutes of eardrum-dicing gunplay , screeching-metal smashups , and flaccid odd-couple sniping .
a big fat pain .
this is a movie filled with unlikable , spiteful idiots ; whether or not their friendship is salvaged makes no difference in the least .
while some will object to the idea of a vietnam picture with such a rah-rah , patriotic tone , soldiers ultimately achieves its main strategic objective : dramatizing the human cost of the conflict that came to define a generation .
it 's a pedestrian , flat drama that screams out ` amateur ' in almost every frame .
hip-hop rarely comes alive as its own fire-breathing entity in this picture .
for casual moviegoers who stumble into rules expecting a slice of american pie hijinks starring the kid from dawson 's creek , they 'll probably run out screaming .
it could have been something special , but two things drag it down to mediocrity -- director clare peploe 's misunderstanding of marivaux 's rhythms , and mira sorvino 's limitations as a classical actress .
slap her - she 's not funny !
everything 's serious , poetic , earnest and -- sadly -- dull .
see clockstoppers if you have nothing better to do with 94 minutes .
if you 're not fans of the adventues of steve and terri , you should avoid this like the dreaded king brown snake .
love liza is a festival film that would have been better off staying on the festival circuit .
gaghan ... has thrown every suspenseful cliché in the book at this nonsensical story .
deuces wild is an encyclopedia of cliches that shoplifts shamelessly from farewell-to-innocence movies like the wanderers and a bronx tale without cribbing any of their intelligence .
it 's still terrible !
it 's in the action scenes that things fall apart .
an unsuccessful attempt at a movie of ideas .
this strenuously unfunny showtime deserves the hook .
this story of unrequited love does n't sustain interest beyond the first half-hour .
it 's a stale , overused cocktail using the same olives since 1962 as garnish .
sex ironically has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler .
he 's just a sad aristocrat in tattered finery , and the film seems as deflated as he does .
it 's so badly made on every level that i 'm actually having a hard time believing people were paid to make it .
my only wish is that celebi could take me back to a time before i saw this movie and i could just skip it .
one of these days hollywood will come up with an original idea for a teen movie , but until then there 's always these rehashes to feed to the younger generations .
an appalling ` ace ventura ' rip-off that somehow manages to bring together kevin pollak , former wrestler chyna and dolly parton .
it finds no way to entertain or inspire its viewers .
the satire is unfocused , while the story goes nowhere .
an uneasy mix of run-of-the-mill raunchy humor and seemingly sincere personal reflection .
the film 's hero is a bore and his innocence soon becomes a questionable kind of inexcusable dumb innocence .
in his role of observer of the scene , lawrence sounds whiny and defensive , as if his life-altering experiences made him bitter and less mature .
boasts eye-catching art direction but has a forcefully quirky tone that quickly wears out its limited welcome .
exploitative and largely devoid of the depth or sophistication that would make watching such a graphic treatment of the crimes bearable .
to paraphrase a line from another dickens ' novel , nicholas nickleby is too much like a fragment of an underdone potato .
lacks depth .
it 's as if solondz had two ideas for two movies , could n't really figure out how to flesh either out , so he just slopped ` em together here .
in the end , tuck everlasting falls victim to that everlasting conundrum experienced by every human who ever lived : too much to do , too little time to do it in .
rarely has sex on screen been so aggressively anti-erotic .
the makers of mothman prophecies succeed in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad .
the film 's needlessly opaque intro takes its doe-eyed crudup out of pre-9 \/ 11 new york and onto a cross-country road trip of the homeric kind .
the biggest problem with satin rouge is lilia herself .
the thought of watching this film with an audience full of teenagers fixating on its body humour and reinforcement of stereotypes -lrb- of which they 'll get plenty -rrb- fills me with revulsion .
jaglom offers the none-too-original premise that everyone involved with moviemaking is a con artist and a liar .
contrived , maudlin and cliche-ridden ... if this sappy script was the best the contest received , those rejected must have been astronomically bad .
one suspects that craven endorses they simply because this movie makes his own look much better by comparison .
the film 's final hour , where nearly all the previous unseen material resides , is unconvincing soap opera that tornatore was right to cut .
puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself .
the appeal of the vulgar , sexist , racist humour went over my head or -- considering just how low brow it is -- perhaps it snuck under my feet .
has the disjointed feel of a bunch of strung-together tv episodes .
completely creatively stillborn and executed in a manner that i 'm not sure could be a single iota worse ... a soulless hunk of exploitative garbage .
it 's fitting that a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland .
we do n't get paid enough to sit through crap like this .
feels like a cold old man going through the motions .
-lrb- seagal 's -rrb- strenuous attempt at a change in expression could very well clinch him this year 's razzie .
thoroughly awful .
starts as a tart little lemon drop of a movie and ends up as a bitter pill .
often lingers just as long on the irrelevant as on the engaging , which gradually turns what time is it there ?
not exaggerated enough to be a parody of gross-out flicks , college flicks , or even flicks in general .
a high-minded snoozer .
a movie like the guys is why film criticism can be considered work .
pc stability notwithstanding , the film suffers from a simplistic narrative and a pat , fairy-tale conclusion .
check your brain and your secret agent decoder ring at the door because you do n't want to think too much about what 's going on .
as saccharine as it is disposable .
as lively an account as seinfeld is deadpan .
the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film .
contains all the substance of a twinkie -- easy to swallow , but scarcely nourishing .
ver wiel 's desperate attempt at wit is lost , leaving the character of critical jim two-dimensional and pointless .
a sustained fest of self-congratulation between actor and director that leaves scant place for the viewer .
a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her .
mendes still does n't quite know how to fill a frame .
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 .
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 .
to call this film a lump of coal would only be to flatter it .
all of the filmmakers ' calculations ca n't rescue brown sugar from the curse of blandness .
mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .
it should be interesting , it should be poignant , it turns out to be affected and boring .
first-timer john mckay is never able to pull it back on course .
you can practically hear george orwell turning over .
helmer hudlin tries to make a hip comedy , but his dependence on slapstick defeats the possibility of creating a more darkly edged tome .
what jackson has done is proven that no amount of imagination , no creature , no fantasy story and no incredibly outlandish scenery
there is n't one moment in the film that surprises or delights .
the plot is plastered with one hollywood cliche after another , most of which involve precocious kids getting the better of obnoxious adults .
astonishing is n't the word -- neither is incompetent , incoherent or just plain crap .
you might want to take a reality check before you pay the full ticket price to see `` simone , '' and consider a dvd rental instead .
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 .
hard as this may be to believe , here on earth , a surprisingly similar teen drama , was a better film .
a full-frontal attack on audience patience .
... less a story than an inexplicable nightmare , right down to the population 's shrugging acceptance to each new horror .
this long and relentlessly saccharine film is a clear case of preaching to the converted .
presents nothing special and , until the final act , nothing overtly disagreeable .
director yu seems far more interested in gross-out humor than in showing us well-thought stunts or a car chase that we have n't seen 10,000 times .
average , at best , i 'm afraid .
i felt trapped and with no obvious escape for the entire 100 minutes .
although i did n't hate this one , it 's not very good either .
cattaneo reworks the formula that made the full monty a smashing success ... but neglects to add the magic that made it all work .
anemic , pretentious .
a work that lacks both a purpose and a strong pulse .
it 's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads .
feels like pieces a bunch of other , better movies slapped together .
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 .
... too contrived to be as naturally charming as it needs to be .
the 50-something lovebirds are too immature and unappealing to care about .
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 .
a bland animated sequel that hardly seems worth the effort .
unspeakable , of course , barely begins to describe the plot and its complications .
a limp eddie murphy vehicle that even he seems embarrassed to be part of .
though a capable thriller , somewhere along the way k-19 jettisoned some crucial drama .
how many more times will indie filmmakers subject us to boring , self-important stories of how horrible we are to ourselves and each other ?
it 's supposed to be post-feminist breezy but ends up as tedious as the chatter of parrots raised on oprah .
lacking substance and soul , crossroads comes up shorter than britney 's cutoffs .
this is surely one of the most frantic , virulent and foul-natured christmas season pics ever delivered by a hollywood studio .
it 's a glorified sitcom , and a long , unfunny one at that .
with zoe clarke-williams 's lackluster thriller `` new best friend '' , who needs enemies ?
just send it to cranky .
it is n't scary .
a preposterous , prurient whodunit .
chan 's stunts are limited and so embellished by editing that there 's really not much of a sense of action or even action-comedy .
instead of making his own style , director marcus adams just copies from various sources -- good sources , bad mixture
the movie is without intent .
if you 're the kind of parent who enjoys intentionally introducing your kids to films which will cause loads of irreparable damage that years and years of costly analysis could never fix , i have just one word for you - -- decasia
all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .
take care is nicely performed by a quintet of actresses , but nonetheless it drags during its 112-minute length .
the script covers huge , heavy topics in a bland , surfacey way that does n't offer any insight into why , for instance , good things happen to bad people .
a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level .