the rock is destined to be the 21st century's new " conan " and that he's going to make a splash even greater than arnold schwarzenegger , jean-claud van damme or steven segal . 
the gorgeously elaborate continuation of " the lord of the rings " trilogy is so huge that a column of words cannot adequately describe co-writer/director peter jackson's expanded vision of j . r . r . tolkien's middle-earth . 
effective but too-tepid biopic 
if you sometimes like to go to the movies to have fun , wasabi is a good place to start . 
emerges as something rare , an issue movie that's so honest and keenly observed that it doesn't feel like one . 
the film provides some great insight into the neurotic mindset of all comics -- even those who have reached the absolute top of the game . 
offers that rare combination of entertainment and education . 
perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions . 
steers turns in a snappy screenplay that curls at the edges ; it's so clever you want to hate it . but he somehow pulls it off . 
take care of my cat offers a refreshingly different slice of asian cinema . 
this is a film well worth seeing , talking and singing heads and all . 
what really surprises about wisegirls is its low-key quality and genuine tenderness . 
 ( wendigo is ) why we go to the cinema : to be fed through the eye , the heart , the mind . 
one of the greatest family-oriented , fantasy-adventure movies ever . 
ultimately , it ponders the reasons we need stories so much . 
an utterly compelling 'who wrote it' in which the reputation of the most famous author who ever lived comes into question . 
illuminating if overly talky documentary . 
a masterpiece four years in the making . 
the movie's ripe , enrapturing beauty will tempt those willing to probe its inscrutable mysteries . 
offers a breath of the fresh air of true sophistication . 
a thoughtful , provocative , insistently humanizing film . 
with a cast that includes some of the top actors working in independent film , lovely & amazing involves us because it is so incisive , so bleakly amusing about how we go about our lives . 
a disturbing and frighteningly evocative assembly of imagery and hypnotic music composed by philip glass . 
not for everyone , but for those with whom it will connect , it's a nice departure from standard moviegoing fare . 
scores a few points for doing what it does with a dedicated and good-hearted professionalism . 
occasionally melodramatic , it's also extremely effective . 
spiderman rocks
an idealistic love story that brings out the latent 15-year-old romantic in everyone . 
at about 95 minutes , treasure planet maintains a brisk pace as it races through the familiar story . however , it lacks grandeur and that epic quality often associated with stevenson's tale as well as with earlier disney efforts . 
it helps that lil bow wow . . . tones down his pint-sized gangsta act to play someone who resembles a real kid . 
guaranteed to move anyone who ever shook , rattled , or rolled . 
a masterful film from a master filmmaker , unique in its deceptive grimness , compelling in its fatalist worldview . 
light , cute and forgettable . 
if there's a way to effectively teach kids about the dangers of drugs , i think it's in projects like the ( unfortunately r-rated ) paid . 
while it would be easy to give crush the new title of two weddings and a funeral , it's a far more thoughtful film than any slice of hugh grant whimsy . 
though everything might be literate and smart , it never took off and always seemed static . 
cantet perfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent's days
ms . fulford-wierzbicki is almost spooky in her sulky , calculating lolita turn . 
though it is by no means his best work , laissez-passer is a distinguished and distinctive effort by a bona-fide master , a fascinating film replete with rewards to be had by all willing to make the effort to reap them . 
like most bond outings in recent years , some of the stunts are so outlandish that they border on being cartoonlike . a heavy reliance on cgi technology is beginning to creep into the series . 
newton draws our attention like a magnet , and acts circles around her better known co-star , mark wahlberg . 
the story loses its bite in a last-minute happy ending that's even less plausible than the rest of the picture . much of the way , though , this is a refreshingly novel ride . 
fuller would surely have called this gutsy and at times exhilarating movie a great yarn . 
'compleja e intelectualmente retadora , el ladrón de orquídeas es uno de esos filmes que vale la pena ver precisamente por su originalidad . '
the film makes a strong case for the importance of the musicians in creating the motown sound . 
karmen moves like rhythm itself , her lips chanting to the beat , her long , braided hair doing little to wipe away the jeweled beads of sweat . 
gosling provides an amazing performance that dwarfs everything else in the film . 
a real movie , about real people , that gives us a rare glimpse into a culture most of us don't know . 
tender yet lacerating and darkly funny fable . 
may be spoofing an easy target -- those old '50's giant creature features -- but . . . it acknowledges and celebrates their cheesiness as the reason why people get a kick out of watching them today . 
an engaging overview of johnson's eccentric career . 
in its ragged , cheap and unassuming way , the movie works . 
some actors have so much charisma that you'd be happy to listen to them reading the phone book . hugh grant and sandra bullock are two such likeable actors . 
sandra nettelbeck beautifully orchestrates the transformation of the chilly , neurotic , and self-absorbed martha as her heart begins to open . 
behind the snow games and lovable siberian huskies ( plus one sheep dog ) , the picture hosts a parka-wrapped dose of heart . 
everytime you think undercover brother has run out of steam , it finds a new way to surprise and amuse . 
manages to be original , even though it rips off many of its ideas . 
singer/composer bryan adams contributes a slew of songs — a few potential hits , a few more simply intrusive to the story — but the whole package certainly captures the intended , er , spirit of the piece . 
you'd think by now america would have had enough of plucky british eccentrics with hearts of gold . yet the act is still charming here . 
whether or not you're enlightened by any of derrida's lectures on " the other " and " the self , " derrida is an undeniably fascinating and playful fellow . 
a pleasant enough movie , held together by skilled ensemble actors . 
this is the best american movie about troubled teens since 1998's whatever . 
disney has always been hit-or-miss when bringing beloved kids' books to the screen . . . tuck everlasting is a little of both . 
just the labour involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing . 
the animated subplot keenly depicts the inner struggles of our adolescent heroes - insecure , uncontrolled , and intense . 
the invincible werner herzog is alive and well and living in la
morton is a great actress portraying a complex character , but morvern callar grows less compelling the farther it meanders from its shocking start . 
part of the charm of satin rouge is that it avoids the obvious with humour and lightness . 
son of the bride may be a good half-hour too long but comes replete with a flattering sense of mystery and quietness . 
a simmering psychological drama in which the bursts of sudden violence are all the more startling for the slow buildup that has preceded them . 
a taut , intelligent psychological drama . 
a compelling coming-of-age drama about the arduous journey of a sensitive young girl through a series of foster homes and a fierce struggle to pull free from her dangerous and domineering mother's hold over her . 
a truly moving experience , and a perfect example of how art -- when done right -- can help heal , clarify , and comfort . 
this delicately observed story , deeply felt and masterfully stylized , is a triumph for its maverick director . 
at heart the movie is a deftly wrought suspense yarn whose richer shadings work as coloring rather than substance . 
the appearance of treebeard and gollum's expanded role will either have you loving what you're seeing , or rolling your eyes . i loved it ! gollum's 'performance' is incredible ! 
a screenplay more ingeniously constructed than " memento " 
if this movie were a book , it would be a page-turner , you can't wait to see what happens next . 
haneke challenges us to confront the reality of sexual aberration . 
absorbing and disturbing -- perhaps more disturbing than originally intended -- but a little clarity would have gone a long way . 
it's the best film of the year so far , the benchmark against which all other best picture contenders should be measured . 
painful to watch , but viewers willing to take a chance will be rewarded with two of the year's most accomplished and riveting film performances . 
this is a startling film that gives you a fascinating , albeit depressing view of iranian rural life close to the iraqi border . 
an imaginative comedy/thriller . 
a few artsy flourishes aside , narc is as gritty as a movie gets these days . 
while the isle is both preposterous and thoroughly misogynistic , its vistas are incredibly beautiful to look at . 
together , tok and o orchestrate a buoyant , darkly funny dance of death . in the process , they demonstrate that there's still a lot of life in hong kong cinema . 
director kapur is a filmmaker with a real flair for epic landscapes and adventure , and this is a better film than his earlier english-language movie , the overpraised elizabeth . 
the movie is a blast of educational energy , as bouncy animation and catchy songs escort you through the entire 85 minutes . 
a sports movie with action that's exciting on the field and a story you care about off it . 
doug liman , the director of bourne , directs the traffic well , gets a nice wintry look from his locations , absorbs us with the movie's spycraft and uses damon's ability to be focused and sincere . 
the tenderness of the piece is still intact . 
katz uses archival footage , horrifying documents of lynchings , still photographs and charming old reel-to-reel recordings of meeropol entertaining his children to create his song history , but most powerful of all is the song itself
like the film's almost anthropologically detailed realization of early-'80s suburbia , it's significant without being overstated . 
while mcfarlane's animation lifts the film firmly above the level of other coming-of-age films . . . it's also so jarring that it's hard to get back into the boys' story . 
if nothing else , this movie introduces a promising , unusual kind of psychological horror . 
in a normal screen process , these bromides would be barely enough to sustain an interstitial program on the discovery channel . but in imax 3-d , the clichés disappear into the vertiginous perspectives opened up by the photography . 
writer-director burger imaginatively fans the embers of a dormant national grief and curiosity that has calcified into chronic cynicism and fear . 
 . . . a roller-coaster ride of a movie
i enjoyed time of favor while i was watching it , but i was surprised at how quickly it faded from my memory . 
chicago is sophisticated , brash , sardonic , completely joyful in its execution . 
steve irwin's method is ernest hemmingway at accelerated speed and volume . 
a refreshing korean film about five female high school friends who face an uphill battle when they try to take their relationships into deeper waters . 
on the surface , it's a lovers-on-the-run crime flick , but it has a lot in common with piesiewicz's and kieslowski's earlier work , films like the double life of veronique . 
the values that have held the enterprise crew together through previous adventures and perils do so again-courage , self-sacrifice and patience under pressure . 
if it's possible for a sequel to outshine the original , then sl2 does just that . 
a romantic comedy that operates by the rules of its own self-contained universe . 
4 friends , 2 couples , 2000 miles , and all the pabst blue ribbon beer they can drink - it's the ultimate redneck road-trip . 
the film is often filled with a sense of pure wonderment and excitement not often seen in today's cinema du sarcasm
it might be tempting to regard mr . andrew and his collaborators as oddballs , but mr . earnhart's quizzical , charming movie allows us to see them , finally , as artists . 
a feel-good picture in the best sense of the term . 
edited and shot with a syncopated style mimicking the work of his subjects , pray turns the idea of the documentary on its head , making it rousing , invigorating fun lacking any mtv puffery . 
a mostly intelligent , engrossing and psychologically resonant suspenser . 
it's this memory-as-identity obviation that gives secret life its intermittent unease , reaffirming that long-held illusions are indeed reality , and that erasing them recasts the self . 
hip-hop has a history , and it's a metaphor for this love story . 
in scope , ambition and accomplishment , children of the century . . . takes kurys' career to a whole new level . 
this may not have the dramatic gut-wrenching impact of other holocaust films , but it's a compelling story , mainly because of the way it's told by the people who were there . 
between the drama of cube ? s personal revelations regarding what the shop means in the big picture , iconic characters gambol fluidly through the story , with charming results . 
a gentle , compassionate drama about grief and healing . 
somewhere short of tremors on the modern b-scene : neither as funny nor as clever , though an agreeably unpretentious way to spend ninety minutes . 
digital-video documentary about stand-up comedians is a great glimpse into a very different world . 
unlike most teen flicks , swimming takes its time to tell its story , casts mostly little-known performers in key roles , and introduces some intriguing ambiguity . 
an enthralling , playful film that constantly frustrates our desire to know the 'truth' about this man , while deconstructing the very format of the biography in a manner that derrida would doubtless give his blessing to . 
 " extreme ops " exceeds expectations . good fun , good action , good acting , good dialogue , good pace , good cinematography . 
you should pay nine bucks for this : because you can hear about suffering afghan refugees on the news and still be unaffected . dramas like this make it human . 
a thunderous ride at first , quiet cadences of pure finesse are few and far between ; their shortage dilutes the potency of otherwise respectable action . still , this flick is fun , and host to some truly excellent sequences . 
it's obviously struck a responsive chord with many south koreans , and should work its magic in other parts of the world . 
run , don't walk , to see this barbed and bracing comedy on the big screen . 
a classy item by a legend who may have nothing left to prove but still has the chops and drive to show how its done . 
it is nature against progress . in fessenden's horror trilogy , this theme has proved important to him and is especially so in the finale . 
it's not exactly a gourmet meal but the fare is fair , even coming from the drive-thru . 
this is what imax was made for : strap on a pair of 3-d goggles , shut out the real world , and take a vicarious voyage to the last frontier -- space . 
merely as a technical , logistical feat , russian ark marks a cinematic milestone . 
[schweiger is] talented and terribly charismatic , qualities essential to both movie stars and social anarchists . 
it's a great deal of sizzle and very little steak . but what spectacular sizzle it is ! . . . in this incarnation its fizz is infectious . 
an original gem about an obsession with time . 
it will delight newcomers to the story and those who know it from bygone days . 
gloriously goofy ( and gory ) midnight movie stuff . 
the film overcomes the regular minefield of coming-of-age cliches with potent doses of honesty and sensitivity . 
if your senses haven't been dulled by slasher films and gorefests , if you're a connoisseur of psychological horror , this is your ticket . 
it's a minor comedy that tries to balance sweetness with coarseness , while it paints a sad picture of the singles scene . 
it is intensely personal and yet -- unlike quills -- deftly shows us the temper of the times . 
as lo-fi as the special effects are , the folks who cobbled nemesis together indulge the force of humanity over hardware in a way that george lucas has long forgotten . 
like mike doesn't win any points for originality . it does succeed by following a feel-good formula with a winning style , and by offering its target audience of urban kids some welcome role models and optimism . 
it's a hoot and a half , and a great way for the american people to see what a candidate is like when he's not giving the same 15-cent stump speech . 
far from perfect , but its heart is in the right place . . . innocent and well-meaning . 
a sad , superior human comedy played out on the back roads of life . 
waydowntown is by no means a perfect film , but its boasts a huge charm factor and smacks of originality . 
tim allen is great in his role but never hogs the scenes from his fellow cast , as there are plenty of laughs and good lines for everyone in this comedy . 
more a load of enjoyable , conan-esque claptrap than the punishing , special-effects soul assaults the mummy pictures represent . 
enormously likable , partly because it is aware of its own grasp of the absurd . 
here's a british flick gleefully unconcerned with plausibility , yet just as determined to entertain you . 
it's an old story , but a lively script , sharp acting and partially animated interludes make just a kiss seem minty fresh . 
must be seen to be believed . 
ray liotta and jason patric do some of their best work in their underwritten roles , but don't be fooled : nobody deserves any prizes here . 
everything that has to do with yvan and charlotte , and everything that has to do with yvan's rambunctious , jewish sister and her non-jew husband , feels funny and true . 
sweet home alabama " is what it is – a nice , harmless date film . . . 
the year's happiest surprise , a movie that deals with a real subject in an always surprising way . 
fans of behan's work and of irish movies in general will be rewarded by borstal boy . 
its mysteries are transparently obvious , and it's too slowly paced to be a thriller . [but it's] worth recommending because of two marvelous performances by michael caine and brendan fraser . 
the film is faithful to what one presumes are the book's twin premises -- that we become who we are on the backs of our parents , but we have no idea who they were at our age ; and that time is a fleeting and precious commodity no matter how old you are . 
stephen earnhart's homespun documentary mule skinner blues has nothing but love for its posse of trailer park denizens . 
a solidly seaworthy chiller . 
if you can get past the fantastical aspects and harsh realities of " the isle " you'll get a sock-you-in-the-eye flick that is a visual tour-de-force and a story that is unlike any you will likely see anywhere else . 
there are as many misses as hits , but ultimately , it finds humor in the foibles of human behavior , and it's a welcome return to the roots of a genre that should depend on surprises . 
a well-made thriller with a certain level of intelligence and non-reactionary morality . 
there's enough science to make it count as educational , and enough beauty to make it unforgettable . 
remains a solid , if somewhat heavy-handed , account of the near-disaster . . . done up by howard with a steady , if not very imaginative , hand . 
makmalbaf follows a resolutely realistic path in this uncompromising insight into the harsh existence of the kurdish refugees of iran's borderlands . 
for a good chunk of its running time , trapped is an effective and claustrophobic thriller . 
most of crush is a clever and captivating romantic comedy with a welcome pinch of tartness . 
nair does capture the complexity of a big family and its trials and tribulations . . . 
the seaside splendor and shallow , beautiful people are nice to look at while you wait for the story to get going . 
rare is the 'urban comedy' that even attempts the insight and honesty of this disarming indie . 
ranks among willams' best screen work . 
engagingly captures the maddening and magnetic ebb and flow of friendship . 
an experience so engrossing it is like being buried in a new environment . 
it's traditional moviemaking all the way , but it's done with a lot of careful period attention as well as some very welcome wit . 
thoroughly enjoyable . 
maybe it's just because this past year has seen the release of some of the worst film comedies in decades . . . but honestly , analyze that really isn't all that bad . 
a droll , well-acted , character-driven comedy with unexpected deposits of feeling . 
this is simply the most fun you'll ever have with a documentary ! 
a very funny movie . 
watching haneke's film is , aptly enough , a challenge and a punishment . but watching huppert , a great actress tearing into a landmark role , is riveting . 
a cop story that understands the medium amazingly well . 
one of the best , most understated performances of [jack nicholson's] career . 
britney has been delivered to the big screen safe and sound , the way we like our 20-year-old superstar girls to travel on the fame freeway . 
those outside show business will enjoy a close look at people they don't really want to know . 
the kind of nervous film that will either give you a mild headache or exhilarate you . 
watching beanie and his gang put together his slasher video from spare parts and borrowed materials is as much fun as it must have been for them to make it . 
children may not understand everything that happens -- i'm not sure even miyazaki himself does -- but they will almost certainly be fascinated , and undoubtedly delighted . 
a fascinating and fun film . 
tadpole is a sophisticated , funny and good-natured treat , slight but a pleasure . 
this insightful , oscar-nominated documentary , in which children on both sides of the ever-escalating conflict have their say away from watchful parental eyes , gives peace yet another chance . 
i admired this work a lot . 
whether you're moved and love it , or bored or frustrated by the film , you'll still feel something . 
 . . . there are enough moments of heartbreaking honesty to keep one glued to the screen . 
my goodness , queen latifah has a lot to offer and she seemed to have no problem flaunting her natural gifts . she must have a very strong back . 
a smart , sweet and playful romantic comedy . 
australian actor/director john polson and award-winning english cinematographer giles nuttgens make a terrific effort at disguising the obvious with energy and innovation . 
without heavy-handedness , dong provides perspective with his intelligent grasp of human foibles and contradictions . 
solid , lump-in-the-throat family entertainment that derives its power by sticking to the facts . 
as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting . 
it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen . 
it won't bust your gut -- and it's not intended to -- it's merely a blandly cinematic surgical examination of what makes a joke a joke . 
a somewhat crudely constructed but gripping , questing look at a person so racked with self-loathing , he becomes an enemy to his own race . 
it extends the writings of jean genet and john rechy , the films of fassbinder , perhaps even the nocturnal works of goya . 
narc may not get an 'a' for originality , but it wears its b-movie heritage like a badge of honor . 
with the film's striking ending , one realizes that we have a long way to go before we fully understand all the sexual permutations involved . 
[drumline] is entertaining for what it does , and admirable for what it doesn't do . 
at its best early on as it plays the culture clashes between the brothers . 
[a] rare , beautiful film . 
an unabashedly schmaltzy and thoroughly enjoyable true story . 
a thoughtful look at a painful incident that made headlines in 1995 . 
you walk out of the good girl with mixed emotions — disapproval of justine combined with a tinge of understanding for her actions . 
tsai ming-liang has taken his trademark style and refined it to a crystalline point . 
purely propaganda , a work of unabashed hero worship , it is nonetheless -- and likely inadvertently -- a timely and invaluable implicit reminder of the role that u . s . foreign policy has played in the rise of castro . 
now trimmed by about 20 minutes , this lavish three-year-old production has enough grandeur and scale to satisfy as grown-up escapism . 
we get some truly unique character studies and a cross-section of americana that hollywood couldn't possibly fictionalize and be believed . 
though this film can be clumsy , its ambitions are equally -- and admirably -- uncommercial . 
daring , mesmerizing and exceedingly hard to forget . 
the dangerous lives of altar boys' take on adolescence feels painfully true . 
moore's performance impresses almost as much as her work with haynes in 1995's safe . 
visits spy-movie territory like a novel you can't put down , examines a footnote to history seldom brought to light on the screen , and keeps you guessing from first frame to last . 
an absorbing , slice-of-depression life that touches nerves and rings true . 
mr . parker has brilliantly updated his source and grasped its essence , composing a sorrowful and hilarious tone poem about alienated labor , or an absurdist workplace sitcom . 
the result is something quite fresh and delightful . 
all but the most persnickety preteens should enjoy this nonthreatening but thrilling adventure . 
despite its many infuriating flaws -- not the least of which is amy's self-absorbed personality -- amy's o's honesty will win you over . 
this is one of polanski's best films . 
day is not a great bond movie , but it is a good bond movie , which still makes it much better than your typical bond knock-offs . 
polished korean political-action film is just as good -- and bad -- as hollywood action epics . is this progress ? 
elling , portrayed with quiet fastidiousness by per christian ellefsen , is a truly singular character , one whose frailties are only slightly magnified versions of the ones that vex nearly everyone . 
denis and co-writer michele petin's impeccable screenplay penetrates with a rawness that that is both unflinching and tantalizing . lead provocatuers testud and parmentier give superlative performances
an absorbing trip into the minds and motivations of people under stress as well as a keen , unsentimental look at variations on the theme of motherhood . 
i admired it , particularly that unexpected downer of an ending . 
the passions aroused by the discord between old and new cultures are set against the strange , stark beauty of the mideast desert , so lovingly and perceptively filmed that you can almost taste the desiccated air . 
remarkably accessible and affecting . 
never mind whether you buy the stuff about barris being a cia hit man . the kooky yet shadowy vision clooney sustains throughout is daring , inventive and impressive . 
a triumph of art direction over narrative , but what art direction ! 
behan himself knew how to spin a tale and one can't help but think he'd appreciate this attempt to turn his life into art . 
jirí hubac's script is a gem . his characters are engaging , intimate and the dialogue is realistic and greatly moving . the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . . 
moore's complex and important film is also , believe it or not , immensely entertaining , a david and goliath story that's still very much playing itself out . 
the additional storyline is interesting and entertaining , but it doesn't have the same magical quality as the beginning of the story . i like the new footage and still love the old stuff . 
though mama takes a bit too long to find its rhythm and a third-act plot development is somewhat melodramatic , its ribald humor and touching nostalgia are sure to please anyone in search of a jules and jim for the new millennium . 
you might not buy the ideas . but you'll definitely want the t-shirt . 
provides an intriguing window into the imagination and hermetic analysis of todd solondz . 
windtalkers is shapelessly gratifying , the kind of movie that invites you to pick apart its faults even as you have to admit that somehow it hit you where you live . 
presents an astute appraisal of middle american musical torpor and the desperate struggle to escape it . 
just what makes us happy , anyway ? 
a thoughtful , moving piece that faces difficult issues with honesty and beauty . 
one of the greatest romantic comedies of the past decade . 
you wouldn't call the good girl a date movie ( an anti-date movie is more like it ) , but when it's good , it's good and horrid . 
benefits from a strong performance from zhao , but it's dong jie's face you remember at the end . 
this is a film brimming with detail and nuance and one that speaks volumes about the ability of the human spirit to find solace in events that could easily crush it forever . 
the director , steven shainberg , has succeeded by focusing intently on his characters , making them quirky individuals rather than figures of fun . 
it ultimately stands forth as an important chronicle of the abuses of one of latin america's most oppressive regimes . 
the movie has a soft , percolating magic , a deadpan suspense . 
a well-made and often lovely depiction of the mysteries of friendship . 
using his audience as a figurative port-of-call , dong pulls his even-handed ideological ship to their dock for unloading , before he continues his longer journey still ahead . 
 . . . understands that a generation defines its music as much as the music defines a generation . 
the transporter is as lively and as fun as it is unapologetically dumb
as a witness to several greek-american weddings -- but , happily , a victim of none -- i can testify to the comparative accuracy of ms . vardalos' memories and insights . 
has it ever been possible to say that williams has truly inhabited a character ? it is now . 
by presenting an impossible romance in an impossible world , pumpkin dares us to say why either is impossible -- which forces us to confront what's possible and what we might do to make it so . 
an impressive debut for first-time writer-director mark romanek , especially considering his background is in music video . 
an incendiary , deeply thought-provoking look at one of the most peculiar ( and peculiarly venomous ) bigotries in our increasingly frightening theocracy
all the performances are top notch and , once you get through the accents , all or nothing becomes an emotional , though still positive , wrench of a sit . 
 " its successes are also tempered with elements which prove the direct antithesis of what it gets right . " 
it's solid and affecting and exactly as thought-provoking as it should be . 
this is such a dazzlingly self-assured directorial debut that it's hard to know what to praise first . 
parker holds true to wilde's own vision of a pure comedy with absolutely no meaning , and no desire to be anything but a polished , sophisticated entertainment that is in love with its own cleverness . 
münch's genuine insight makes the film's occasional overindulgence forgivable . 
thankfully , the film , which skirts that rapidly deteriorating line between fantasy and reality . . . takes a tongue-in-cheek attitude even as it pushes the croc hunter agenda . 
ultimately , the message of trouble every day seems to be that all sexual desire disrupts life's stasis . 
if you're like me , a sucker for a good old fashion romance and someone who shamelessly loves to eat , then mostly martha offers all the perfect ingredients to more than satisfy your appetite . 
the film has just enough of everything -- re-enactments , archival footage , talking-head interviews -- and the music is simply sublime . 
there are a few stabs at absurdist comedy . . . but mostly the humor is of the sweet , gentle and occasionally cloying kind that has become an iranian specialty . 
a wonderful character-based comedy . 
it would be interesting to hear from the other side , but in talk to her , the women are down for the count . 
an endearingly offbeat romantic comedy with a great meet-cute gimmick . 
the unique tug-of-war with viewer expectations is undeniable , if not a pleasure in its own right . 
it uses an old-time formula , it's not terribly original and it's rather messy -- but you just have to love the big , dumb , happy movie my big fat greek wedding . 
it's almost impossible not to be moved by the movie's depiction of sacrifice and its stirring epilogue in post-soviet russia . 
who knows what exactly godard is on about in this film , but his words and images don't have to add up to mesmerize you . 
the tone is balanced , reflective and reasonable . 
the principals in this cast are all fine , but bishop and stevenson are standouts . 
it could change america , not only because it is full of necessary discussion points , but because it is so accessible that it makes complex politics understandable to viewers looking for nothing but energetic entertainment . 
what's most striking about this largely celebratory film . . . is the sense of isolation that permeates these bastions of individuality in an ikea world . 
 . . . if you're in a mind set for goofy comedy , the troopers will entertain with their gross outs , bawdy comedy and head games . 
somewhat blurred , but kinnear's performance is razor sharp . 
as a director , mr . ratliff wisely rejects the temptation to make fun of his subjects . 
for anyone who remembers the '60s or is interested in one man's response to stroke , ram dass : fierce grace is worth seeking out . 
intriguing and beautiful film , but those of you who read the book are likely to be disappointed . 
the new guy does have a heart . now , if it only had a brain . 
a savvy exploration of paranoia and insecurity in america's culture of fear . 
legendary irish writer brendan behan's memoir , borstal boy , has been given a loving screen transferral . 
the film's greatest asset is how much it's not just another connect-the-dots , spy-on-the-run picture . 
this clever caper movie has twists worthy of david mamet and is enormous fun for thinking audiences . 
it's one of the saddest films i have ever seen that still manages to be uplifting but not overly sentimental . 
morton is , as usual , brilliant . 
even with all those rough edges safely sanded down , the american insomnia is still pretty darned good . 
i don't know precisely what to make of steven soderbergh's full frontal , though that didn't stop me from enjoying much of it . 
the tug of war that ensues is as much a snapshot of modern china in microcosm as it is a crash course in movie mythology . 
nearly surreal , dabbling in french , this is no simple movie , and you'll be taking a risk if you choose to see it . i enjoyed the ride ( bumps and all ) , creamy depth , and ultimate theme . 
you could say that it's slow at times , you could say that a few of the characters act in ways that real people wouldn't , but one thing you couldn't say is that alias betty is predictable . 
asia authors herself as anna battista , an italian superstar and aspiring directress who just happens to be her own worst enemy . 
roman coppola may never become the filmmaker his dad was , but heck – few filmmakers will . but based on cq , i'll certainly be keeping an eye out for his next project . 
an amusing , breezily apolitical documentary about life on the campaign trail . 
high on melodrama . but it's emotionally engrossing , too , thanks to strong , credible performances from the whole cast . 
finally , a genre movie that delivers -- in a couple of genres , no less . 
it's not so much enjoyable to watch as it is enlightening to listen to new sides of a previous reality , and to visit with some of the people who were able to make an impact in the theater world . 
spielberg is the rare director who does not want to invite viewers to gawk at or applaud his special effects . he just wants them to be part of the action , the wallpaper of his chosen reality . here , thankfully , they are . 
post 9/11 the philosophical message of " personal freedom first " might not be as palatable as intended . 
hu and liu offer natural , matter-of-fact performances that glint with sorrow , longing and love . 
this bold and lyrical first feature from raja amari expands the pat notion that middle-aged women just wanna have fun into a rousing treatise of sensual empowerment . 
easier to respect than enthuse over , andersson's rigorous personal vision is not only distanced but distancing . 
girls gone wild and gone civil again
 . . . tunney is allowed to build an uncommonly human character , an almost real-live girl complete with trouble and hope . 
while this film is not in the least surprising , it is still ultimately very satisfying . think of it as a sort of comfort food for the mind . 
clever , brutal and strangely soulful movie . 
 . . . always remains movingly genuine . 
an intelligent fiction about learning through cultural clash . 
will grab your children by the imagination and amaze them and amuse them . 
a remarkable 179-minute meditation on the nature of revolution . 
those who would follow haneke on his creepy explorations . . . are rewarded by brutal , committed performances from huppert and magimel . 
an involving true story of a chinese actor who takes up drugs and winds up in an institution--acted mostly by the actual people involved . 
hands down the year's most thought-provoking film . but it pays a price for its intricate intellectual gamesmanship . 
it's a terrific american sports movie and dennis quaid is its athletic heart . 
this is such a high-energy movie where the drumming and the marching are so excellent , who cares if the story's a little weak . 
compelling revenge thriller , though somewhat weakened by a miscast leading lady . 
it's amazingly perceptive in its subtle , supportive but unsentimental look at the marks family . 
a whole lot foul , freaky and funny . 
family fare . 
attal mixes comedy with a serious exploration of ego and jealousy within a seemingly serene marriage . 
the diversity of the artists represented , both in terms of style and ethnicity , prevents the proceedings from feeling repetitious , as does the appropriately brief 40-minute running time . 
the pianist is a fine valedictory work for polanski , made richer by his own experiences , making his other movies somehow richer in the bargain . 
foster nails the role , giving a tight , focused performance illuminated by shards of feeling . 
even if you can't pronounce " gyro " correctly , you'll appreciate much of vardalos' humor , which transcends ethnic boundaries . 
is office work really as alienating as 'bartleby' so effectively makes it ? 
farrell . . . thankfully manages to outshine the role and successfully plays the foil to willis's world-weary colonel . 
audiences conditioned to getting weepy over saucer-eyed , downy-cheeked moppets and their empathetic caretakers will probably feel emotionally cheated by the film's tart , sugar-free wit . 
bennett's dramatization of her personal descent into post-breakup perdition has a morbid appeal that's tough to shake . 
an intriguing and entertaining introduction to johnson . 
as expected , sayles' smart wordplay and clever plot contrivances are as sharp as ever , though they may be overshadowed by some strong performances . 
a model of what films like this should be like . 
as weber and weissman demonstrate with such insight and celebratory verve , the cockettes weren't as much about gender , sexual preference or political agitprop as they were simply a triumph of the indomitable human will to rebel , connect and create . 
yeah , these flicks are just that damn good . isn't it great ? 
an unbelievably fun film just a leading man away from perfection . 
over-the-top and a bit ostentatious , this is a movie that's got oodles of style and substance . 
 . . . a poignant and powerful narrative that reveals that reading writing and arithmetic are not the only subjects to learn in life . 
nicely serves as an examination of a society in transition . 
boisterous , heartfelt comedy . 
a tender and touching drama , based on the true story of a troubled african-american's quest to come to terms with his origins , reveals the yearning we all have in our hearts for acceptance within the family circle . 
as a randy film about sexy people in gorgeous places being pushed and pulled ( literally and figuratively ) by desire . . . [sex and lucía] makes for an arousing good time . 
absorbing character study by andré turpin . 
celebrated at sundance , this slight comedy of manners has winning performances and a glossy , glib charm that's hard to beat . 
renner's performance as dahmer is unforgettable , deeply absorbing . 
if no one singles out any of these performances as award-worthy , it's only because we would expect nothing less from this bunch . 
if you love reading and/or poetry , then by all means check it out . you'll probably love it . 
though of particular interest to students and enthusiast of international dance and world music , the film is designed to make viewers of all ages , cultural backgrounds and rhythmic ability want to get up and dance . 
energetic and boldly provocative . 
star wars is back in a major way . 
it's a movie -- and an album -- you won't want to miss . 
it's rare to find a film that dazzles the eye , challenges the brain , and satisfies our lust for fast-paced action , but minority report delivers all that and a whole lot more . 
while not all transitions to adulthood are so fraught , there's much truth and no small amount of poetry in girls can't swim . 
if there's nothing fresh about wannabes , which was written by mr . demeo , who produced and directed the film with charles a . addessi , much of the time the movie feels authentic . 
jacquot's tosca is a treat . 
by the end of no such thing the audience , like beatrice , has a watchful affection for the monster . 
if you liked such movies as notting hill , four weddings and a funeral , bridget jones' diary or high fidelity , then you won't want to miss about a boy . 
 . . . the gentle melding of drama and comedy makes " what time is it there ? " something the true film buff will enjoy . 
romanek keeps the film constantly taut . . . reflecting the character's instability with a metaphorical visual style and an unnerving , heartbeat-like score . 
i whole-heartedly recommend that everyone see this movie-- for its historical significance alone . 
hey , who else needs a shower ? 
longley has constructed a remarkably coherent , horrifically vivid snapshot of those turbulent days . 
although it bangs a very cliched drum at times , this crowd-pleaser's fresh dialogue , energetic music , and good-natured spunk are often infectious . 
often gruelling and heartbreaking to witness , but seldahl and wollter's sterling performances raise this far above the level of the usual maudlin disease movie . 
go see it and enjoy . 
the stunning , dreamlike visuals will impress even those viewers who have little patience for euro-film pretension . 
george clooney proves he's quite a talented director and sam rockwell shows us he's a world-class actor with confessions of a dangerous mind . 
there's a vastness implied in metropolis that is just breathtaking . 
murderous maids may well be the most comprehensive of these films and also strike closest to the truth . 
the people in dogtown and z-boys are so funny , aggressive and alive , you have to watch them because you can't wait to see what they do next . 
as green-guts monster movies go , it's a beaut . 
as bundy , michael reilly burke ( octopus 2 : river of fear ) has just the right amount of charisma and menace . 
a deceivingly simple film , one that grows in power in retrospect . 
ana is a vivid , vibrant individual and the movie's focus upon her makes it successful and accessible . 
a slick , skillful little horror film . 
a very witty take on change , risk and romance , and the film uses humour to make its points about acceptance and growth . 
[anderson] uses a hit-or-miss aesthetic that hits often enough to keep the film entertaining even if none of it makes a lick of sense . 
bubba ho-tep is a wonderful film with a bravura lead performance by bruce campbell that doesn't deserve to leave the building until everyone is aware of it . 
despite the long running time , the pace never feels slack -- there's no scene that screams " bathroom break ! " 
bullock does a good job here of working against her natural likability . 
a film of precious increments artfully camouflaged as everyday activities . 
kinnear gives a tremendous performance . 
the best movie of its kind since 'brazil . ' lucas , take notes . this is how you use special effects . 
 " frailty " has been written so well , that even a simple " goddammit ! " near the end takes on a whole other meaning . 
one hour photo is an intriguing snapshot of one man and his delusions ; it's just too bad it doesn't have more flashes of insight . 
kaufman creates an eerie sense of not only being there at the time of these events but the very night matthew was killed . 
chalk it up to my adoration for both de niro and murphy , but i had a pretty good time with this movie - despite its myriad flaws . 
its scenes and sensibility are all more than familiar , but it exudes a kind of nostalgic spy-movie charm and , at the same time , is so fresh and free of the usual thriller nonsense that it all seems to be happening for the first time . 
it represents better-than-average movie-making that doesn't demand a dumb , distracted audience . 
a charming yet poignant tale of the irrevocable ties that bind . 
an enchanting spectacular for potter fans anxious to ride the hogwarts express toward a new year of magic and mischief . 
the talents of the actors helps " moonlight mile " rise above its heart-on-its-sleeve writing . 
it's a humble effort , but spiced with wry humor and genuine pathos , especially between morgan and redgrave . 
this examination of aquatic life off the shores of the baja california peninsula of mexico offers an engrossing way to demonstrate the virtues of the imax format . 
dark and disturbing , but also surprisingly funny . 
the movie has an avalanche of eye-popping visual effects . 
starts off with a bang , but then fizzles like a wet stick of dynamite at the very end . it's still worth a look . 
most impressive , though , is the film's open-ended finale that refuses to entirely close its characters' emotional wounds . 
a hip ride into hyper-time , clockstoppers is a lively and enjoyable adventure for all ages at any time . 
grenier is terrific , bringing an unforced , rapid-fire delivery to toback's heidegger- and nietzsche-referencing dialogue . 
 . . . a polished and relatively sincere piece of escapism . 
the story wraps back around on itself in the kind of elegant symmetry that's rare in film today , but be warned : it's a slow slog to get there . 
the whole cast looks to be having so much fun with the slapstick antics and silly street patois , tossing around obscure expressions like bellini and mullinski , that the compact 86 minutes breezes by . 
 . . . has freaky scenes where the crew wonder if they're ghosts imagining themselves as alive . it's a sly wink to the others without becoming a postmodern joke , made creepy by its " men in a sardine can " warped logic . 
long after you leave justine , you'll be wondering what will happen to her and wishing her the best -- whatever that might mean . 
still pretentious and filled with subtext , but entertaining enough at 'face value' to recommend to anyone looking for something different . 
call me a wimp , but i cried , not once , but three times in this animated sweet film . 
notorious c . h . o . has oodles of vulgar highlights . 
an inspiring and heart-affecting film about the desperate attempts of vietnamese refugees living in u . s . relocation camps to keep their hopes alive in 1975 . 
the level of maturity displayed by this 33-year-old first-time feature director is astonishing , considering her inexperience and her subject matter . 
a splendid entertainment , young in spirit but accomplished in all aspects with the fullness of spirit and sense of ease that comes only with experience . 
disney's live-action division has a history of releasing cinematic flotsam , but this is one occasion when they have unearthed a rare gem . 
if the message seems more facile than the earlier films , the images have such a terrible beauty you may not care . 
whether kiss is a future cult classic or destined to be completely forgotten is open to question , but the risk-takers in the crowd should check it out and form their own opinion . 
there are moments in this account of the life of artist frida kahlo that are among cinema's finest this year . unfortunately , they're sandwiched in between the most impossibly dry account of kahlo's life imaginable . 
there are moments it can be heart-rending in an honest and unaffected ( and gentle ) way . 
stay clear of reminding yourself that it's a " true story " and you're likely to have one helluva time at the movies . 
there are just enough twists in the tale to make it far more satisfying than almost any horror film in recent memory . 
the sundance film festival has become so buzz-obsessed that fans and producers descend upon utah each january to ferret out the next great thing . 'tadpole' was one of the films so declared this year , but it's really more of the next pretty good thing . 
working from elliott's memoir , rohmer fashions the sort of delicate , articulate character- and- relationship study he's favored for decades . 
the story feels more like a serious read , filled with heavy doses of always enticing sayles dialogue . 
when it really counts . . . bloody sunday connects on a visceral level that transcends language . 
the crime matters less than the characters , although the filmmakers supply enough complications , close calls and double-crosses to satisfy us . 
[an] hilarious romantic comedy . 
the actors are fantastic . they are what makes it worth the trip to the theatre . 
ranging from funny to shattering and featuring some of the year's best acting , personal velocity gathers plenty of dramatic momentum . 
i complain all the time about seeing the same ideas repeated in films over and over again , but the bourne identity proves that a fresh take is always possible . 
recalls quiet freak-outs like l'avventura and repulsion . 
only an epic documentary could get it all down , and spike lee's jim brown : all american at long last gives its subject a movie worthy of his talents . 
 . . . as the story congeals you feel the pieces of the star wars saga falling into place in a way that makes your spine tingle with revelation and excitement . 
a great comedy filmmaker knows great comedy needn't always make us laugh . tim story's not there yet - but 'barbershop' shows he's on his way . 
the movie is one of the best examples of artful large format filmmaking you are likely to see anytime soon . 
lends itself to the narcotizing bland ( sinister , though not nearly so sinister as the biennial disney girl movie ) machinations of the biennial disney boy movie . 
well-written , nicely acted and beautifully shot and scored , the film works on several levels , openly questioning social mores while ensnaring the audience with its emotional pull . 
jason x has cheesy effects and a hoary plot , but its macabre , self-deprecating sense of humor makes up for a lot . 
[taymor] utilizes the idea of making kahlo's art a living , breathing part of the movie , often catapulting the artist into her own work . this isn't a new idea . it's been done before but never so vividly or with so much passion . 
an impressive if flawed effort that indicates real talent . 
two generations within one family test boundaries in this intelligent and restrained coming-of-age drama . 
it sounds sick and twisted , but the miracle of shainberg's film is that it truly is romance
disturbing and brilliant documentary . 
 . . . mesmerizing , an eye-opening tour of modern beijing culture in a journey of rebellion , retreat into oblivion and return . 
one of the best examples of how to treat a subject , you're not fully aware is being examined , much like a photo of yourself you didn't know was being taken . 
not too far below the gloss you can still feel director denis villeneuve's beating heart and the fondness he has for his characters . 
as if to prove a female director can make a movie with no soft edges , kathryn bigelow offers no sugar-coating or interludes of lightness . her film is unrelentingly claustrophobic and unpleasant . 
[villeneuve] seems to realize intuitively that even morality is reduced to an option by the ultimate mysteries of life and death . 
the result is mesmerizing -- filled with menace and squalor . 
fisher has bared his soul and confronted his own shortcomings here in a way . . . that feels very human and very true to life . 
it's fun , but the code-talk will fly right over everyone's head
bourne , jason bourne . he can scale a building like a super hero , he can out-stealth any agent , he'll get the girl . he's super spy ! 
what makes the movie a comedy is the way it avoids the more serious emotions involved . 
an exhilarating experience . 
this cuddly sequel to the 1999 hit is a little more visually polished , a little funnier , and a little more madcap . 
the pleasures of super troopers may be fleeting , but they'll register strongly with anybody who still retains a soft spot for precollegiate humor . 
the film is exhilarating to watch because sandler , liberated from the constraints of formula , reveals unexpected depths as an actor . 
a distant , even sterile , yet compulsively watchable look at the sordid life of hogan's heroes star bob crane . 
the film delivers not just the full assault of reno's immense wit and insight , but a time travel back to what it felt like during those unforgettably uncertain days . 
what might have been a predictably heartwarming tale is suffused with complexity . 
sound the trumpets : for the first time since desperately seeking susan , madonna doesn't suck as an actress . 
although very much like the first movie based on j . k . rowling's phenomenal fantasy best sellers , this second go-round possesses a quite pleasing , headlong thrust and a likably delinquent attitude . 
[ " take care of my cat " ] is an honestly nice little film that takes us on an examination of young adult life in urban south korea through the hearts and minds of the five principals . 
as the story moves inexorably through its seven day timeframe , the picture becomes increasingly mesmerizing . 
maguire is a surprisingly effective peter/spider-man . 
not a cozy or ingratiating work , but it's challenging , sometimes clever , and always interesting , and those are reasons enough to see it . 
the film runs on equal parts of innocence and wisdom -- wisdom that comes with experience . it has fun being grown up . 
like old myths and wonder tales spun afresh . 
rarely do films come along that are as intelligent , exuberant , and moving as monsoon wedding . 
one scarcely needs the subtitles to enjoy this colorful action farce . 
quite funny for the type of movie it is . . . 
it's often infuriatingly glib and posturing , and yet it has been made with great evident care and manages to deliver up the man in a way to arouse further curiosity in even the most unknowing viewer . 
one of [herzog's] least inspired works . 
this boisterous comedy serves up a cruel reminder of the fate of hundreds of thousands of chinese , one which can only qualify as a terrible tragedy . 
elling really is about a couple of crazy guys , and it's therapeutic to laugh along with them . 
never [sinks] into exploitation . 
an irresistible combination of a rousing good story set on a truly grand scale . 
there's no denying the physically spectacular qualities of the film . . . or the emotional integrity of the performances . 
few films this year have been as resolute in their emotional nakedness . 
exquisitely acted and masterfully if preciously interwoven… [the film] addresses in a fascinating , intelligent manner the intermingling of race , politics and local commerce . 
stevenson's performance is at once clueless and fiercely committed , a volatile combination . 
this is a very fine movie -- go see it . 
as shaky as the plot is , kaufman's script is still memorable for some great one-liners . 
despite its flaws , secretary stays in your head and makes you question your own firmly held positions . 
one of those rare , exhilarating cinematic delights that gets even better in hindsight , as you mull over its every nuance in your mind . 
not everything works , but the average is higher than in mary and most other recent comedies . 
a byzantine melodrama that stimulates the higher brain functions as well as the libido . 
a sensitive and expertly acted crowd-pleaser that isn't above a little broad comedy and a few unabashedly sentimental tears . 
the film's sharp , often mischievous sense of humor will catch some off guard . . . 
does what a fine documentary does best : it extends a warm invitation into an unfamiliar world , then illuminates it fully and allows the larger implications of the journey to sink in unobtrusively . 
almost every scene in this film is a gem that could stand alone , a perfectly realized observation of mood , behavior and intent . 
a psychologically rich and suspenseful moral thriller with a stellar performance by al pacino . 
you won't believe much of it , but you will laugh at the audacity , at the who's who casting and the sheer insanity of it all . 
this version's no classic like its predecessor , but its pleasures are still plentiful . 
the bourne identity is what summer screen escapism used to be in the decades when it was geared more to grownups . 
provide[s] nail-biting suspense and credible characters without relying on technology-of-the-moment technique or pretentious dialogue . 
if it tried to do anything more , it would fail and perhaps explode , but at this level of manic whimsy , it is just about right . 
too sincere to exploit its subjects and too honest to manipulate its audience . 
the saturation bombing of reggio's images and glass' evocative music . . . ultimately leaves viewers with the task of divining meaning . 
for all its serious sense of purpose . . . [it] finds a way to lay bare the tragedies of its setting with a good deal of warmth and humor . 
a depressing confirmation of everything those of us who don't object to the description " unelected " have suspected all along : george w . bush is an incurious , uncharismatic , overgrown frat boy with a mean streak a mile wide . 
this road movie gives you emotional whiplash , and you'll be glad you went along for the ride . 
sure , it's more of the same , but as the film proves , that's not always a bad thing . 
a lighthearted , feel-good film that embraces the time-honored truth that the most powerful thing in life is love . 
a bowel-curdling , heart-stopping recipe for terror . 
daughter from danang is a film that should be seen by all , especially those who aren't aware of , or have forgotten about the unmentioned victims of war . 
zhang yimou delivers warm , genuine characters who lie not through dishonesty , but because they genuinely believe it's the only way to bring happiness to their loved ones . 
 . . . breathes surprising new life into the familiar by amalgamating genres and adding true human complexity to its not-so-stock characters . 
' . . . both hokey and super-cool , and definitely not in a hurry , so sit back , relax and have a few laughs while the little ones get a fuzzy treat . '
a pleasant romantic comedy . 
it's a count for our times . 
greengrass has delivered an undoubted stylistic tour-de-force , and has managed elements such as sound and cinematography with skill
smith's point is simple and obvious -- people's homes are extensions of themselves , and particularly eccentric people have particularly eccentric living spaces -- but his subjects are charmers . 
a romantic comedy , yes , but one with characters who think and talk about their goals , and are working on hard decisions . 
vividly conveys both the pitfalls and the pleasures of over-the-top love . 
 . . . a weak , manipulative , pencil-thin story that is miraculously able to entertain anyway . 
a pro-fat farce that overcomes much of its excessive moral baggage thanks to two appealing lead performances . 
for the first two-thirds of this sparklingly inventive and artful , always fast and furious tale , kids will go happily along for the ride . 
majidi's poetic love story is a ravishing consciousness-raiser , if a bit draggy at times . 
the smartest bonehead comedy of the summer . 
effectively feeds our senses with the chilling sights and sounds from within the camp to create a completely numbing experience . 
i love the way that it took chances and really asks you to take these great leaps of faith and pays off . 
in his debut as a film director , denzel washington delivers a lean and engaging work . 
only two words will tell you what you know when deciding to see it : anthony . hopkins . 
the movie's quiet affirmation of neighborhood values gives it an honest , lived-in glow . 
a teasing drama whose relentless good-deed/bad-deed reversals are just interesting enough to make a sinner like me pray for an even more interesting , less symmetrical , less obviously cross-shaped creation . 
hayek is stunning as frida and . . . a star-making project . 
it's both a necessary political work and a fascinating documentary . . . 
hilarious , acidic brit comedy . 
as a revenge thriller , the movie is serviceable , but it doesn't really deliver the delicious guilty pleasure of the better film versions . 
an ironic speculation on democracy in a culture unaccustomed to it . 
it's not life-affirming — its vulgar and mean , but i liked it . 
several degrees shy of the gross-out contests one expects from current teen fare . 
the inherent strength of the material as well as the integrity of the filmmakers gives this coming-of-age story restraint as well as warmth . 
led by griffin's smartly nuanced performance and enthusiasm , the cast has a lot of fun with the material . 
tuck everlasting achieves a delicate balance of romantic innocence and philosophical depth . 
a gentle blend of present day testimonials , surviving footage of burstein and his family performing , historical archives , and telling stills . 
a generation x artifact , capturing a brief era of insanity in the sports arena that surely cannot last . 
possession is elizabeth barrett browning meets nancy drew , and it's directed by . . . neil labute . hmm . 
an uneven but intriguing drama that is part homage and part remake of the italian masterpiece . 
windtalkers celebrates the human spirit and packs an emotional wallop . 
having never been a huge fan of dickens' 800-page novel , it surprised me how much pleasure i had watching mcgrath's version . 
the best thing the film does is to show us not only what that mind looks like , but how the creative process itself operates . 
for all its failed connections , divine secrets of the ya-ya sisterhood is nurturing , in a gauzy , dithering way . 
this is pretty dicey material . but some unexpected zigs and zags help . 
compellingly watchable . 
the filmmakers skillfully evoke the sense of menace that nature holds for many urban dwellers . 
the laser-projected paintings provide a spell-casting beauty , while russell and dreyfus are a romantic pairing of hearts , preciously exposed as history corners them . 
you don't have to be an especially tough grader to give a charitable b-minus to the emperor's club . 
this romantic thriller is steeped in the atmosphere of wartime england , and ably captures the speech patterns , moral codes and ideals of the 1940s . 
divine secrets of the ya-ya sisterhood may not be exactly divine , but it's definitely -- defiantly -- ya ya , what with all of those terrific songs and spirited performances . 
viewed on its own terms , treasure planet is better-than-average family entertainment , but true fans of the stevenson's novel will likely prefer disney's more faithful 1950 live-action swashbuckling classic . 
a journey through memory , a celebration of living , and a sobering rumination on fatality , classism , and ignorance . 
resourceful and ingenious entertainment . 
 " antwone fisher " is an earnest , by-the-numbers effort by washington . it won't rock any boats but is solid meat-and-potatoes filmmaking . 
a historical epic with the courage of its convictions about both scope and detail . 
we need [moore's] noisy , cocky energy , his passion and class consciousness ; we need his shticks , we need his stones . 
although the editing might have been tighter , hush ! sympathetically captures the often futile lifestyle of young people in modern japan . 
[gai] comes closer to any actress i can remember to personifying independence in its purest and , yes , most intimidating form . 
these are lives worth watching , paths worth following . 
it's rather like a lifetime special -- pleasant , sweet and forgettable . 
a moody horror/thriller elevated by deft staging and the director's well-known narrative gamesmanship . 
as a singular character study , it's perfect . it's also the year's sweetest movie . 
a graceful , contemplative film that gradually and artfully draws us into a world where the personal and the political get fatally intertwined . 
while not as aggressively impressive as its american counterpart , " in the bedroom , " moretti's film makes its own , quieter observations
the experience of watching blobby old-school cgi animation in this superlarge format is just surreal enough to be diverting . 
time changer may not be the most memorable cinema session but its profound self-evaluation message about our fragile existence and the absence of spiritual guidance should at least invade an abundance of mindsets
 " the emperor's new clothes " begins with a simple plan . . . . well , at least that's the plan . 
haynes has so fanatically fetishized every bizarre old-movie idiosyncrasy with such monastic devotion you're not sure if you should applaud or look into having him committed . 
[director peter] jackson and his crew have so steeped themselves in the majesty of tolkien's writing that every frame produces new joys , whether you're a fan of the books or not . 
while the glass slipper doesn't quite fit , pumpkin is definitely a unique modern fairytale . 
the drama is played out with such aching beauty and truth that it brings tears to your eyes . 
an exciting and involving rock music doc , a smart and satisfying look inside that tumultuous world . 
an offbeat , sometimes gross and surprisingly appealing animated film about the true meaning of the holidays . 
this version incarnates the prophetic book in a way even its exacting author might admire . 
sometimes , nothing satisfies like old-fashioned swashbuckling . and in this regard , on guard delivers . 
 . . . ambition is in short supply in the cinema , and egoyan tackles his themes and explores his characters' crises with seriousness and compassion . 
an impossible romance , but we root for the patronized iranian lad . 
like dickens with his passages , mcgrath crafts quite moving scenes throughout his resolutely dramatic variation on the novel . 
there's a disreputable air about the whole thing , and that's what makes it irresistible . 
an exceedingly clever piece of cinema . another great ‘what you don't see' is much more terrifying than what you do see thriller , coupled with some arresting effects , incandescent tones and stupendous performances
a carefully structured scream of consciousness that is tortured and unsettling--but unquestionably alive . 
a quietly reflective and melancholy new zealand film about an eventful summer in a 13-year-old girl's life . 
cute , funny , heartwarming digitally animated feature film with plenty of slapstick humor for the kids , lots of in-jokes for the adults and heart enough for everyone . 
very solid , very watchable first feature for director peter sheridan
a budget affair that exposes the generally sad existence of the bedouins while providing a precious twinkle of insight into their lives . 
it suggests the wide-ranging effects of media manipulation , from the kind of reporting that is done by the supposedly liberal media . . . to the intimate and ultimately tragic heartache of maverick individuals like hatfield and hicks . 
workmanlike , maybe , but still a film with all the elements that made the other three great , scary times at the movies . 
a pleasant enough comedy that should have found a summer place . 
branagh , in his most forceful non-shakespeare screen performance , grounds even the softest moments in the angry revolt of his wit . 
though the violence is far less sadistic than usual , the film is typical miike : fast , furious and full of off-the-cuff imaginative flourishes . 
compelling as it is exotic , fast runner has a plot that rivals shakespeare for intrigue , treachery and murder . 
what it lacks in originality it makes up for in intelligence and b-grade stylishness . 
the warm presence of zhao benshan makes the preposterous lying hero into something more than he reasonably should be . 
this is as powerful a set of evidence as you'll ever find of why art matters , and how it can resonate far beyond museum walls and through to the most painfully marginal lives . 
director rob marshall went out gunning to make a great one . 
skip work to see it at the first opportunity . 
bow's best moments are when he's getting busy on the basketball court because that's when he really scores . 
offers enough playful fun to entertain the preschool set while embracing a wholesome attitude . 
in the end , punch-drunk love is one of those films that i wanted to like much more than i actually did . sometimes , that's enough . 
an intimate , good-humored ethnic comedy like numerous others but cuts deeper than expected . 
ice cube holds the film together with an engaging and warm performance . . . 
both deeply weird and charmingly dear . 
as blunt as it is in depicting child abuse , el bola is a movie steeped in an ambiguity that lends its conflicts a symbolic resonance . 
despite a story predictable enough to make the sound of music play like a nail-biting thriller , its heart is so much in the right place it is difficult to get really peeved at it . 
it's a masterpiece . 
an incredibly low-rent danish film , it brings a group of people together in a sweet and charming way , if a little convenient
it's the cinematic equivalent of a good page-turner , and even if it's nonsense , its claws dig surprisingly deep . 
director nalin pan doesn't do much to weigh any arguments one way or the other . he simply presents his point of view that ayurveda works . no question . 
what " empire " lacks in depth it makes up for with its heart . 
claude miller airs out a tight plot with an easy pace and a focus on character drama over crime-film complications . 
what full frontal lacks in thematic coherence it largely makes up for as loosey-goosey , experimental entertainment . still , i'm not quite sure what the point is…
rich in detail , gorgeously shot and beautifully acted , les destinees is , in its quiet , epic way , daring , inventive and refreshingly unusual . 
 ( a ) hollywood sheen bedevils the film from the very beginning . . . ( but ) lohman's moist , deeply emotional eyes shine through this bogus veneer . . . 
do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-year-old woman doesn't work ? 
ford deserves to be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier . 
the film's 45-minute running time stops shy of overkill , though viewers may be more exhausted than the athletes onscreen . 
don't expect any surprises in this checklist of teamwork cliches . . . 
as adapted by kevin molony from simon leys' novel " the death of napoleon " and directed by alan taylor , napoleon's journey is interesting but his parisian rebirth is stillborn
the movie addresses a hungry need for pg-rated , nonthreatening family movies , but it doesn't go too much further . 
this warm and gentle romantic comedy has enough interesting characters to fill several movies , and its ample charms should win over the most hard-hearted cynics . 
a yarn that respects the marvel version without becoming ensnared by it . 
this is a happy throwback to the time when cartoons were cinema's most idiosyncratic form instead of one of its most predictable . 
complex , affecting and uniquely almodóvar , the film evokes strong emotions and pushes viewers to question their deepest notions of moral right and wrong . 
good ol' urban legend stuff . 
not so much a movie as a picture book for the big screen . this isn't my favorite in the series , still i enjoyed it enough to recommend . 
it's one of the most honest films ever made about hollywood . 
it is a film that will have people walking out halfway through , will encourage others to stand up and applaud , and will , undoubtedly , leave both camps engaged in a ferocious debate for years to come . 
on its own cinematic terms , it successfully showcases the passions of both the director and novelist byatt . 
light , silly , photographed with colour and depth , and rather a good time . 
pray's film works well and will appeal even to those who aren't too familiar with turntablism . 
troubling and powerful . 
good movie . good actress . but if you expect light romantic comedy , good gosh , will you be shocked . 
it has the courage to wonder about big questions with sincerity and devotion . it risks seeming slow and pretentious , because it thinks the gamble is worth the promise . 
with youthful high spirits , tautou remains captivating throughout michele's religious and romantic quests , and she is backed by a likable cast . 
it's an example of sophisticated , challenging filmmaking that stands , despite its noticeable lack of emotional heft , in welcome contrast to the indulgent dead-end experimentation of the director's previous full frontal . 
a very funny look at how another culture handles the process of courting and marriage . 
but tongue-in-cheek preposterousness has always been part of for the most part wilde's droll whimsy helps " being earnest " overcome its weaknesses and parker's creative interference . . . 
much of the movie's charm lies in the utter cuteness of stuart and margolo . their computer-animated faces are very expressive . 
the path ice age follows most closely , though , is the one established by warner bros . giant chuck jones , who died a matter of weeks before the movie's release . 
anchored by a terrific performance by abbass , satin rouge shows that the idea of women's self-actualization knows few continental divides . 
awkward but sincere and , ultimately , it wins you over . 
smith profiles five extraordinary american homes , and because the owners seem fully aware of the uses and abuses of fame , it's a pleasure to enjoy their eccentricities . 
though the plot is predictable , the movie never feels formulaic , because the attention is on the nuances of the emotional development of the delicate characters . 
sam jones became a very lucky filmmaker the day wilco got dropped from their record label , proving that one man's ruin may be another's fortune . 
goyer's screenplay and direction are thankfully understated , and he has drawn excellent performances from his cast . 
binoche and magimel are perfect in these roles . 
when your leading ladies are a couple of screen-eating dominatrixes like goldie hawn and susan sarandon at their raunchy best , even hokum goes down easily . 
while undercover brother is definitely one for the masses , it's also full of sharp , smart satire . 
gets under the skin of a man who has just lost his wife . 
it may not be " last tango in paris " but . . . 
no wonder they're talking about " talk to her . " it's astonishing . 
for its seriousness , high literary aspirations and stunning acting , the film can only be applauded . 
look , this is a terrific flick replete with dazzling camera-work , dancing and music . 
it is inspirational in characterizing how people from such diverse cultures share the same human and spiritual needs . 
it's fairly self-aware in its dumbness . 
a triumph , relentless and beautiful in its downbeat darkness . 
tailored to entertain ! 
a compelling , moving film that respects its audience and its source material . 
has a plot full of twists upon knots . . . and a nonstop parade of mock-tarantino scuzbag types that starts out clever but veers into overkill . 
a work of astonishing delicacy and force . 
the film benefits greatly from a less manic tone than its predecessor , as cho appears to have settled comfortably into her skin . 
for the first time in several years , mr . allen has surpassed himself with the magic he's spun with the hollywood empress of ms . leoni's ellie . 
isn't quite the equal of woo's best earlier work , but it's easily his finest american film . . . comes close to recapturing the brilliance of his hong kong films . 
the film hinges on its performances , and both leads are up to the task . 
an intelligent , earnest , intimate film that drops the ball only when it pauses for blunt exposition to make sure you're getting its metaphysical point . 
a modest pleasure that accomplishes its goals with ease and confidence . 
a breezy , diverting , conventional , well-acted tale of two men locked in an ongoing game of cat-and-cat . 
what jackson has accomplished here is amazing on a technical level . 
as teen movies go , " orange county " is a refreshing change
makes s&m seem very romantic , and maggie gyllenhaal is a delight . 
a deliciously mordant , bitter black comedy . 
although life or something like it is very much in the mold of feel-good movies , the cast and director stephen herek's polished direction pour delightfully piquant wine from aged bottles . 
it is risky , intelligent , romantic and rapturous from start to finish . 
the movie sticks much closer to hornby's drop-dead confessional tone than the film version of high fidelity did . 
a pleasant ramble through the sort of idoosyncratic terrain that errol morris has often dealt with . . . it does possess a loose , lackadaisical charm . 
 . . . spiced with humor ( 'i speak fluent flatula , ' advises denlopp after a rather , er , bubbly exchange with an alien deckhand ) and witty updatings ( silver's parrot has been replaced with morph , a cute alien creature who mimics everyone and everything around ) 
this is a raw and disturbing tale that took five years to make , and the trio's absorbing narrative is a heart-wrenching showcase indeed . 
a beautiful and haunting examination of the stories we tell ourselves to make sense of the mundane horrors of the world . 
aside from being the funniest movie of the year , simone , andrew niccol's brilliant anti-hollywood satire , has a wickedly eccentric enchantment to it . 
watstein handily directs and edits around his screenplay's sappier elements . . . and sustains off the hook's buildup with remarkable assuredness for a first-timer . 
just another fish-out-of-water story that barely stays afloat . 
there's an energy to y tu mamá también . much of it comes from the brave , uninhibited performances by its lead actors . 
it's the kind of pigeonhole-resisting romp that hollywood too rarely provides . 
reinforces the often forgotten fact of the world's remarkably varying human population and mindset , and its capacity to heal using creative , natural and ancient antidotes . 
you can feel the heat that ignites this gripping tale , and the humor and humanity that root it in feeling . 
it's hard not to be seduced by [witherspoon's] charisma , even in this run-of-the-mill vehicle , because this girl knows how to drive it to the max . 
a movie for 11-year-old boys with sports dreams of their own and the preteen girls who worship lil' bow wow . 
a refreshingly authentic coming-of-age tale . 
if you're not into the pokemon franchise , this fourth animated movie in four years won't convert you -- or even keep your eyes open . but fans should have fun meeting a brand-new pokemon called celebi . 
from the big giant titles of the opening credits to elmer bernstein's perfectly melodic score , haynes gets just about everything right . 
whether seen on a 10-inch television screen or at your local multiplex , the edge-of-your-seat , educational antics of steve irwin are priceless entertainment . 
has a shambling charm . . . a cheerfully inconsequential diversion . 
ferrara directs the entire film with the kind of detachment that makes any given frame look like a family's custom-made christmas card . 
the movie has lots of dancing and fabulous music . there are slow and repetitive parts , but it has just enough spice to keep it interesting . 
an incredibly clever and superbly paced caper filled with scams within scams within scams . 
there's not much more to this adaptation of the nick hornby novel than charm -- effortless , pleasurable , featherweight charm . 
as a belated nod to some neglected all-stars , standing in the shadows of motown is cultural history of the best kind : informative , revealing and richly entertaining . 
even if the ride's a little bumpy , with a final lap that's all too suspiciously smooth , you gotta give director roger michell , best known for the superfluous notting hill , credit for trying . 
not as distinctive or even as humorous as its needs to be to stand out , but it has clearly been made with affection and care . 
this is carion's debut feature but his script and direction hums with a confidence that many spend entire careers trying to reach . 
an intelligent , moving and invigorating film . 
ofrece una buena oportunidad de cultura ( aunque sea condensada ) que bien vale la pena aprovechar . 
 . . . one of the most ingenious and entertaining thrillers i've seen in quite a long time . 
a clever blend of fact and fiction . 
a vivid cinematic portrait . 
hilarious , touching and wonderfully dyspeptic . 
es divertida , visualmente espectacular y muy entretenida . simple y sencillamente te sorprenderá . 
theirs is a simple and heart-warming story , full of mirth that should charm all but the most cynical . 
the film is an enjoyable family film -- pretty much aimed at any youngster who loves horses . 
a frisky and fresh romantic comedy exporing sexual politics and the challenges of friendships between women . 
it's a good film -- not a classic , but odd , entertaining and authentic . 
flavorful and romantic , you could call this how martha got her groove back -- assuming , that is , she ever had one to begin with . 
happily for mr . chin -- though unhappily for his subjects -- the invisible hand of the marketplace wrote a script that no human screenwriter could have hoped to match . 
thurman and lewis are hilarious throughout . 
the plot is so amusingly contrived and outlandish in its coincidences that no one could ever mistake it for anything resembling reality
hits one out of the park for the 'they don't make 'em like that anymore' department . 
it dares to be a little different , and that shading is what makes it worthwhile . 
[fessenden] is much more into ambiguity and creating mood than he is for on screen thrills
the comic performances are all spot on , especially lee ross's turn as ken . 
a compelling journey . . . and " his best friend remembers " is up there with the finest of specials . 
at nearly three hours , the whole of safe conduct is less than the sum of its parts . 
the hours makes you examine your own life in much the same way its characters do , and the experience is profound . the hours is what movies are supposed to be . . . 
a bold and subversive film that cuts across the grain of what is popular and powerful in this high-tech age , speaking its truths with spellbinding imagery and the entrancing music of philip glass . 
pretty darn good , despite its smarty-pants aura . 
so young , so smart , such talent , such a wise * * * . 
woo's fights have a distinct flair . his warriors collide in balletic explosion that implies an underlying order throughout the chaos . 
barney has created a tour de force that is weird , wacky and wonderful . 
the ending does leave you unfulfilled , but these are performances to enjoy in a memorable ensemble piece . 
 . . . an agreeable time-wasting device -- but george pal's low-tech 1960 version still rules the epochs . 
it's a brave attempt to tap into the heartbeat of the world , a salute to the universal language of rhythm and a zippy sampling of sounds . 
offers an unusual opportunity to observe the inequities in the death penalty , not just the inherent immorality but also the haphazard administration of it and public misperception of how the whole thing works . 
i don't think i've been as entranced and appalled by an asian film since shinya tsukamoto's iron man . 
it is so refreshing to see robin williams turn 180 degrees from the string of insultingly innocuous and sappy fiascoes he's been making for the last several years . 
director benoit jacquot , making his first opera-to-film translation with tosca , conveys the heaving passion of puccini's famous love-jealousy- murder-suicide fandango with great cinematic innovation . 
lilia's transformation from strict mother to sensual siren is superficially preposterous , but abbas infuses the role with an unimpeachable core of emotional truth . 
frida's artistic brilliance is undeniable -- it's among the most breathtakingly designed films i've ever seen . 
the perfect film for those who like sick comedies that can be snide . 
'charly' will divide its audience in two separate groups , those reaching for more tissues and those begging for mercy . . . 
nervy and sensitive , it taps into genuine artistic befuddlement , and at the same time presents a scathing indictment of what drives hollywood . 
a marvellous journey from childhood idealism to adolescent self-absorption . 
the film is just a big , gorgeous , mind-blowing , breath-taking mess . 
sharp , lively , funny and ultimately sobering film . 
though the film's scenario is certainly not earthshaking , this depiction of fluctuating female sexuality has two winning lead performances and charm to spare . 
a worthy tribute to a great humanitarian and her vibrant 'co-stars . '
a recent favourite at sundance , this white-trash satire will inspire the affection of even those unlucky people who never owned a cassette of def leppard's pyromania . 
the recording session is the only part of the film that is enlightening -- and how appreciative you are of this depends on your level of fandom . 
occasionally funny and consistently odd , and it works reasonably well as a star vehicle for zhao . 
bright seems alternately amused and disgusted with this material , and he can't help throwing in a few of his own touches . 
the 3d images only enhance the film's otherworldly quality , giving it a strange combo of you-are-there closeness with the disorienting unreality of the seemingly broken-down fourth wall of the movie screen . 
andersson creates a world that's at once surreal and disturbingly familiar ; absurd , yet tremendously sad . 
it's predictable , but it jumps through the expected hoops with style and even some depth . 
often hilarious , well-shot and , importantly , entertaining , hell house is a fascinating document of an event that has to be seen to be believed . 
de oliveira creates an emotionally rich , poetically plump and visually fulsome , but never showy , film whose bittersweet themes are reinforced and brilliantly personified by michel piccoli . 
 . . . an inviting piece of film . 
the film's real appeal won't be to clooney fans or adventure buffs , but to moviegoers who enjoy thinking about compelling questions with no easy answers . 
the fact that the rookie is a nearly impeccable cinematic experience -- and a wonderful all-ages triumph besides -- is a miracle akin to the story the film portrays . 
a deviant topical comedy which is funny from start to finish . 
a startling and fresh examination of how the bike still remains an ambiguous icon in chinese society . 
a highly intriguing thriller , coupled with some ingenious plot devices and some lavishly built settings . . it's a worthwhile tutorial in quantum physics and slash-dash
as hugh grant says repeatedly throughout the movie , 'lovely ! brilliant ! '
cho's fearless in picking apart human foibles , not afraid to lay her life bare in front of an audience . her delivery and timing are flawless . 
works because , for the most part , it avoids the stupid cliches and formulaic potholes that befall its brethren . 
at its best , the good girl is a refreshingly adult take on adultery . . . 
an amazing and incendiary movie that dives straight into the rough waters of contradiction . 
about nowhere kids who appropriated turfs as they found them and become self-made celebrity athletes -- a low-down version of the american dream . 
occasionally , in the course of reviewing art-house obscurities and slam-bam action flicks , a jaded critic smacks into something truly new . 
a miniscule little bleep on the film radar , but one that many more people should check out
desta vez , columbus capturou o pomo de ouro . 
 " 13 conversations " holds its goodwill close , but is relatively slow to come to the point . 
a slick , well-oiled machine , exquisitely polished and upholstered . 
don't plan on the perfect ending , but sweet home alabama hits the mark with critics who escaped from a small town life . 
it has a subtle way of getting under your skin and sticking with you long after it's over . 
the movie stays afloat thanks to its hallucinatory production design . 
it helps that the central performers are experienced actors , and that they know their roles so well . 
a provocative movie about loss , anger , greed , jealousy , sickness and love . 
worth the effort to watch . 
that rara avis : the intelligent romantic comedy with actual ideas on its mind . 
boisterous and daft documentary . 
hawke draws out the best from his large cast in beautifully articulated portrayals that are subtle and so expressive they can sustain the poetic flights in burdette's dialogue . 
a work of the utmost subtlety and perception , it marks the outstanding feature debut of writer-director eric byler , who understands the power of the implicit and the virtues of simplicity and economy . 
full frontal is the antidote for soderbergh fans who think he's gone too commercial since his two oscar nominated films in 2000
it turns out to be a cut above the norm , thanks to some clever writing and sprightly acting . 
you might not want to hang out with samantha , but you'll probably see a bit of yourself in her unfinished story . 
a work of intricate elegance , literary lyricism and profound common sense . 
it's as close as we'll ever come to looking through a photographer's viewfinder as he works . 
thoughtful , provocative and entertaining . 
witty , touching and well paced . 
lee jeong-hyang tells it so lovingly and films it so beautifully that i couldn't help being captivated by it . 
you have to pay attention to follow all the stories , but they're each interesting . the movie is well shot and very tragic , and one to ponder after the credits roll . 
enjoy it for what it is ; you can hate yourself later . 
a map of the inner rhythms of love and jealousy and sacrifice drawn with a master's steady stroke . 
más sarcástica , divertida y demencial que su predecesora , es un buen ejemplo de lo que es el cine de entretenimiento puro y sin complejos . 
a psychological thriller with a smart script and an obsessive-compulsive's attention to detail . 
often hilarious . 
grant gets to display his cadness to perfection , but also to show acting range that may surprise some who thought light-hearted comedy was his forte . 
at times funny and at other times candidly revealing , it's an intriguing look at two performers who put themselves out there because they love what they do . 
westfeldt and juergensen exude a chemistry and comfort level that's both saucy and endearing . 
harsh , effective documentary on life in the israeli-occupied palestinian territories . 
the film is all a little lit crit 101 , but it's extremely well played and often very funny . 
earns its laughs from stock redneck 'types' and from the many , many moments when we recognize even without the elizabethan prose , the play behind the thing . 
a real story about real people living their lives concerned about the future of an elderly , mentally handicapped family member . 
it's absolutely spooky how lillard channels the shagster right down to the original casey kasem-furnished voice . 
a dream cast of solid female talent who build a seamless ensemble . there isn't a weak or careless performance amongst them . 
smart science fiction for grown-ups , with only a few false steps along the way . 
it's a refreshing change from the self-interest and paranoia that shape most american representations of castro . 
often moving and explores the discomfort inherent in the contacts between the american 'hosts' and their 'guests . '
though the controversial korean filmmaker's latest effort is not for all tastes , it offers gorgeous imagery , effective performances , and an increasingly unsettling sense of foreboding . 
lathan and diggs have considerable personal charm , and their screen rapport makes the old story seem new . 
the story may not be new , but australian director john polson , making his american feature debut , jazzes it up adroitly . 
it's endearing to hear madame d . refer to her husband as 'jackie' -- and he does make for excellent company , not least as a self-conscious performer . 
the film often achieves a mesmerizing poetry . 
more than makes up for its mawkish posing by offering rousing spates of genuine feeling . 
it's neither as romantic nor as thrilling as it should be . but it offers plenty to ponder and chew on as its unusual relationship slowly unfolds . 
occasionally funny , always very colorful and enjoyably overblown in the traditional almodóvar style . 
merchant effectively translates naipaul's lively mix of characters from the page to screen . 
some movies are like a tasty hors-d'oeuvre ; this one is a feast . 
what could have become just another cautionary fable is allowed to play out as a clever , charming tale – as pleasantly in its own way as its self-dramatizing characters . 
davis has filled out his cast with appealing fresh faces . 
achieves a sort of filmic epiphany that revels in the true potential of the medium . 
once you get into its rhythm . . . the movie becomes a heady experience . 
 " auto focus " works as an unusual biopic and document of male swingers in the playboy era
if mr . zhang's subject matter is , to some degree at least , quintessentially american , his approach to storytelling might be called iranian . 
a fast-moving and remarkable film that appears destined to become a landmark in japanese animation . 
 . . . 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 ? " feeling to it , but like the 1920's , the trip there is a great deal of fun . 
a worthy entry into a very difficult genre . 
[broomfield] uncovers a story powerful enough to leave the screen sizzling with intrigue . 
eight crazy nights is a showcase for sandler's many talents . 
a sweet-natured reconsideration of one of san francisco's most vital , if least widely recognized , creative fountainheads . 
this is one of the most visually stunning and thematically moving epics in recent memory , and in spite of numerous minor flaws , scorsese's best in more than a decade . 
everywhere the camera looks there is something worth seeing . 
a richly imagined and admirably mature work from a gifted director who definitely has something on his mind . 
it's a nicely detailed world of pawns , bishops and kings , of wagers in dingy backrooms or pristine forests . 
a charming , quirky and leisurely paced scottish comedy -- except with an outrageous central gimmick that could have been a reject from monty python's meaning of life . 
it never fails to engage us . 
its direction , its script , and weaver's performance as a vaguely discontented woman of substance make for a mildly entertaining 77 minutes , if that's what you're in the mood for . 
a charming romantic comedy that is by far the lightest dogme film and among the most enjoyable . 
this is the kind of movie that used to be right at home at the saturday matinee , and it still is . 
the spark of special anime magic here is unmistakable and hard to resist . 
like its two predecessors , 1983's koyaanisqatsi and 1988's powaqqatsi , the cinematic collage naqoyqatsi could be the most navel-gazing film ever . 
baran isn't the most transporting or gripping film from iran -- or , indeed , by its director -- but it's a worthy companion to the many fine , focused films emerging from that most surprising of nations . 
the visuals alone make metropolis worth seeing . 
dark , resonant , inventively detailed and packed with fleet turns of plot and a feast of visual amazement . 
a picture that extols the virtues of comradeship and community in a spunky , spirited fashion . 
a resonant tale of racism , revenge and retribution . 
noyce's film is contemplative and mournfully reflective . 
here , adrian lyne comes as close to profundity as he is likely to get . 
evokes a little of the fear that parents have for the possible futures of their children--and the sometimes bad choices mothers and fathers make in the interests of doing them good . 
uno de los policiales más interesantes de los últimos tiempos . 
rain is a small treasure , enveloping the viewer in a literal and spiritual torpor that is anything but cathartic . 
an elegant , exquisitely modulated psychological thriller . 
this concoction , so bizarre to the adult mind , is actually a charming triumph where its intended under-12 audience is concerned . 
droll caper-comedy remake of " big deal on madonna street " that's a sly , amusing , laugh-filled little gem in which the ultimate " bellini " begins to look like a " real kaputschnik . " 
it's a beautifully accomplished lyrical meditation on a bunch of despondent and vulnerable characters living in the renown chelsea hotel . . . 
is it a total success ? no . is it something any true film addict will want to check out ? you bet . 
zany , exuberantly irreverent animated space adventure . 
dolgin and franco fashion a fascinating portrait of a vietnamese-born youngster who eagerly and easily assimilated as an all-american girl with a brand new name in southern tennessee . 
the disarming cornball atmosphere has a way of infecting the entire crowd as the film rolls on . 
a refreshingly honest and ultimately touching tale of the sort of people usually ignored in contemporary american film . search it out . 
engrossing and affecting , if ultimately not quite satisfying . 
the story , like life , refuses to be simple , and the result is a compelling slice of awkward emotions . 
a sly game of cat and mouse that's intense and thrilling at times , but occasionally stretches believability to its limits and relies on predictable plot contrivances . 
funny and , at times , poignant , the film from director george hickenlooper all takes place in pasadena , " a city where people still read . " 
this horror-comedy doesn't go for the usual obvious laughs at the expense of cheap-looking monsters -- unless you count elvira's hooters . 
the movie's eventual success should be credited to dennis quaid , in fighting trim shape as an athlete as well as an actor
not a bad journey at all . 
sits uneasily as a horror picture . . . but finds surprising depth in its look at the binds of a small family . 
windtalkers blows this way and that , but there's no mistaking the filmmaker in the tall grass , true to himself . 
there is a refreshing absence of cynicism in stuart little 2--quite a rarity , even in the family film market . eventually , it wins you over . 
noyce films it more as a shocking history lesson than as drama . 
like a south-of-the-border melrose place . 
those with an interest in new or singular sorts of film experiences will find what time is it there ? well worth the time . 
a wildly funny prison caper . 
huppert gives erika a persona that is so intriguing that you find yourself staring hypnotically at her , trying to understand her and wondering if she'll crack . 
despite what anyone believes about the goal of its makers , the show . . . represents a spectacular piece of theater , and there's no denying the talent of the creative forces behind it . 
you'll be left with the sensation of having just witnessed a great performance and , perhaps , give in to the urge to get on your feet and shake it . 
the actors are so terrific at conveying their young angst , we do indeed feel for them . 
the reason this picture works better than its predecessors is that myers is no longer simply spoofing the mini-mod-madness of '60s spy movies . 
it is a kickass , dense sci-fi action thriller hybrid that delivers and then some . i haven't seen one in so long , no wonder i didn't recognize it at first . 
a compelling portrait of moral emptiness
in adobo , ethnicity is not just the spice , but at the heart of more universal concerns . 
it is ridiculous , of course . . . but it is also refreshing , disarming , and just outright enjoyable despite its ridiculousness . 
 . . . blade ii is more enjoyable than the original . 
a film that takes you inside the rhythms of its subject : you experience it as you watch . 
the movie exists for its soccer action and its fine acting . 
the movie is saved from unbearable lightness by the simplicity of the storytelling and the authenticity of the performances . 
the film starts out as competent but unremarkable . . . and gradually grows into something of considerable power . 
nothing denis has made before , like beau travil and nenette et boni , could prepare us for this gory , perverted , sex-soaked riff on the cannibal genre . 
reinforces the talents of screenwriter charlie kaufman , creator of adaptation and being john malkovich . 
greene delivers a typically solid performance in a role that is a bit of a departure from the noble characters he has played in the past , and he is matched by schweig , who carries the film on his broad , handsome shoulders . 
finds a way to tell a simple story , perhaps the simplest story of all , in a way that seems compelling and even original . 
a stunning piece of visual poetry that will , hopefully , be remembered as one of the most important stories to be told in australia's film history . 
this is art paying homage to art . 
 . . . a joke at once flaky and resonant , lightweight and bizarrely original . 
invincible is a wonderful movie . 
 . . . a cute and sometimes side-splittingly funny blend of legally blonde and drop dead gorgeous , starring piper perabo in what could be her breakthrough role . 
dazzling and sugar-sweet , a blast of shallow magnificence that only sex , scandal , and a chorus line of dangerous damsels can deliver . 
occasionally amateurishly made but a winsome cast and nice dialogue keeps it going . 
japan's premier stylist of sex and blood hits audiences with what may be his most demented film to date . 
culkin , who's in virtually every scene , shines as a young man who uses sarcastic lies like a shield . 
cuts right through the b . s . giving a big middle-fingered " shut up " to those who talk up what is nothing more than two guys beating the hell outta one another . 
the am-radio soundtrack and game cast -- tierney and the inimitable walken especially -- keep this unusual comedy from choking on its own conceit . 
 . . . does such a fine job of engulfing you in its world and allying you with its characters' choices , good and ill , that its shortcomings are remembered only as an afterthought . 
marvelous , merry and , yes , melancholy film . 
from spiritual rebirth to bruising defeat , vincent's odyssey resonates in a profound way , comparable to the classic films of jean renoir . 
novak manages to capture a cruelly hilarious vein of black comedy in the situation with his cast of non-actors and a gritty , no-budget approach . 
insomnia is involving . still , i thought it could have been more . 
there was time on that second round to see the subtleties of ramsay's portrait of grief . 
we can see the wheels turning , and we might resent it sometimes , but this is still a nice little picture , made by bright and friendly souls with a lot of good cheer . 
a comprehensive and provocative film -- one that pushes the boundaries of biography , and challenges its audience . 
the way coppola professes his love for movies -- both colorful pop junk and the classics that unequivocally qualify as art -- is giddily entertaining . 
a modest masterpiece . 
a worthwhile way to spend two hours . 
francophiles will snicker knowingly and you'll want to slap them . 
sensitive , insightful and beautifully rendered film . one of the best of the year . 
a love for films shines through each frame and the era is recreated with obvious affection , scored to perfection with some tasty boogaloo beats . 
throwing caution to the wind with an invitation to the hedonist in us all , nair has constructed this motion picture in such a way that even the most cynical curmudgeon with find himself or herself smiling at one time or another . 
makes an aborbing if arguable case for the man's greatness . 
an endlessly fascinating , landmark movie that is as bold as anything the cinema has seen in years . 
 . . . a haunting vision , with images that seem more like disturbing hallucinations . 
they crush each other under cars , throw each other out windows , electrocute and dismember their victims in full consciousness . and we don't avert our eyes for a moment . 
it is not a mass-market entertainment but an uncompromising attempt by one artist to think about another . 
frailty isn't as gory or explicit . but in its child-centered , claustrophobic context , it can be just as frightening and disturbing -- even punishing . 
mixes likeable personalities , inventive photography and cutting , and wall-to-wall toe-tapping music to paint a picture of a subculture that is at once exhilarating , silly , perverse , hopeful and always fun . 
the long-range appeal of " minority report " should transcend any awards it bags . this is one for the ages . 
[a] superbly controlled , passionate adaptation of graham greene's 1955 novel . 
much monkeyfun for all . 
an enchanting film that presents an audacious tour of the past and takes within its warm embrace the bounties of cultural artifacts inside st . petersburg's hermitage museum . 
[hawn's character]is so bluntly written , without a trace of sentimentality , and so blisteringly defined , that every other character seems overlooked and underwritten . 
the heightened symmetry of this new/old cinema paradiso makes the film a fuller experience , like an old friend haunted by the exigencies of time . 
the powers team has fashioned a comedy with more laughs than many , no question . but this time there's some mold on the gold . 
while surprisingly sincere , this average little story is adorned with some awesome action photography and surfing . 
it is far from the worst , thanks to the topical issues it raises , the performances of stewart and hardy , and that essential feature -- a decent full-on space battle . 
a film that is a portrait of grace in an imperfect world . 
a pleasurably jacked-up piece of action moviemaking . 
nicolas philibert observes life inside a one-room schoolhouse in northern france in his documentary to be and to have , easily one of the best films of the year . 
a perverse little truffle , dainty psychological terror on the outside with a creamy filling of familial jealousy and unrepentant domestic psychopathy . 
this ecologically minded , wildlife friendly film teaches good ethics while entertaining with its unconventionally wacky but loving family
an enjoyably half-wit remake of the venerable italian comedy big deal on madonna street . 
it takes this never-ending confusion and hatred , puts a human face on it , evokes shame among all who are party to it and even promotes understanding . 
reign of fire may be little more than another platter of reheated aliens , but it's still pretty tasty . 
there are times when a rumor of angels plays like an extended episode of touched by an angel -- a little too much dancing , a few too many weeping scenes -- but i liked its heart and its spirit . 
two hours of melodramatic musical married to two hours of underdog sports intrigue , if the picture also shares the weaknesses of both genres , more's the pity . 
this cheery , down-to-earth film is warm with the cozy feeling of relaxing around old friends . 
thrilling , provocative and darkly funny , this timely sci-fi mystery works on so many different levels that it not only invites , it demands repeated viewings . 
a tale of horror and revenge that is nearly perfect in its relentless descent to the depths of one man's tortured soul . 
an epic of grandeur and scale that's been decades gone from the popcorn pushing sound stages of hollywood . 
genuinely touching because it's realistic about all kinds of love . 
lauren ambrose comes alive under the attention from two strangers in town - with honest performances and realistic interaction between the characters , this is a coming-of-age story with a twist . 
there has been much puzzlement among critics about what the election symbolizes . i believe the message is in the messenger : the agent is a woman . 
an enjoyable film for the family , amusing and cute for both adults and kids . 
 " the mothman prophecies " is a difficult film to shake from your conscience when night falls . 
the second chapter of the harry potter series is even more magical than the first and simply the best family film of the year . 
more honest about alzheimer's disease , i think , than iris . 
the acting alone is worth the price of admission . 
an excellent romp that boasts both a heart and a mind . 
interacting eyeball-to-eyeball and toe-to-toe , hopkins and norton are a winning combination -- but fiennes steals 'red dragon' right from under their noses . 
this is a terrific character study , a probe into the life of a complex man . 
impresses you with its open-endedness and surprises . 
this isn't a narrative film -- i don't know if it's possible to make a narrative film about september 11th , though i'm sure some will try -- but it's as close as anyone has dared to come . 
my oh my , is this an invigorating , electric movie . 
the two leads chomp considerably more scenery with their acting than fire-breathing monsters barbecue with their breath . . . 
cedar takes a very open-minded approach to this sensitive material , showing impressive control , both visually and in the writing . 
never once predictable . 
biggie and tupac is so single-mindedly daring , it puts far more polished documentaries to shame . 
so many documentaries like this presuppose religious bigotry or zealous nuttiness of its antagonists , but family fundamentals displays a rare gift for unflinching impartiality . 
the cast is uniformly excellent and relaxed . 
after making several adaptations of other writers' work , armenian-canadian director atom egoyan broached an original treatment of a deeply personal subject . 
the film is painfully authentic , and the performances of the young players are utterly convincing . 
if it seems like a minor miracle that its septuagenarian star is young enough to be the nonagenarian filmmaker's son , more incredible still are the clear-eyed boldness and quiet irony with which actor and director take on life's urgent questions . 
a candid and often fascinating documentary about a pentecostal church in dallas that assembles an elaborate haunted house each year to scare teenagers into attending services . 
fans of the animated wildlife adventure show will be in warthog heaven ; others need not necessarily apply . 
without resorting to hyperbole , i can state that kissing jessica stein may be the best same-sex romance i have seen . 
nolan bravely treads where few american films dare to delve -- into the world of ambivalence and ambiguity . . . 
unlike the nauseating fictions peddled by such 'have-yourself-a-happy-little-holocaust' movies as life is beautiful and jakob the liar , the grey zone is honest enough to deny the possibility of hope in auschwitz . 
a potent allegorical love story . 
even those who would like to dismiss the film outright should find much to mull and debate . 
this is cool , slick stuff , ready to quench the thirst of an audience that misses the summer blockbusters . 
the movie is full of fine performances , led by josef bierbichler as brecht and monica bleibtreu as helene weigel , his wife . 
a captivating cross-cultural comedy of manners . 
andy garcia enjoys one of his richest roles in years and mick jagger gives his best movie performance since , well , performance . 
the movie isn't always easy to look at . but if it is indeed a duty of art to reflect life , than leigh has created a masterful piece of artistry right here . 
it's [ricci's] best work yet , this girl-woman who sincerely believes she can thwart the world's misery with blind good will . 
highlights are the terrific performances by christopher plummer , as the prime villain , and nathan lane as vincent crummles , the eccentric theater company manager . 
[howard] so good as leon barlow . . . that he hardly seems to be acting . 
an uplifting , near-masterpiece . 
superior genre storytelling , which gets under our skin simply by crossing the nuclear line . 
by taking entertainment tonight subject matter and giving it humor and poignancy , auto focus becomes both gut-bustingly funny and crushingly depressing . 
it's a bittersweet and lyrical mix of elements . 
subversive , meditative , clinical and poetic , the piano teacher is a daring work of genius . 
the weakest of the four harry potter books has been transformed into the stronger of the two films by the thinnest of margins . 
its gross-out gags and colorful set pieces . . . are of course stultifyingly contrived and too stylized by half . still , it gets the job done -- a sleepy afternoon rental . 
it further declares its director , zhang yang of shower , as a boldly experimental , contemporary stylist with a bright future . 
smith's approach is never to tease , except gently and in that way that makes us consider our own eccentricities and how they are expressed through our homes . 
full of profound , real-life moments that anyone can relate to , it deserves a wide audience . 
a movie that will touch the hearts of both children and adults , as well as bring audiences to the edge of their seats . 
leave it to rohmer , now 82 , to find a way to bend current technique to the service of a vision of the past that is faithful to both architectural glories and commanding open spaces of the city as it was more than two centuries ago . 
fine acting but there is no sense of connecting the dots , just dots . 
an extraordinary swedish film about the soul adventure of marriage -- the kind of intimate and character-driven film that bille august does best . 
a blessed gift to film geeks and historians . if the '70's were your idea of a good time at the movies , this will make you very happy . 
it took 19 predecessors to get this ? 
thoughtful , even stinging at times , and lots of fun . 
one of the most haunting , viciously honest coming-of-age films in recent memory . 
the wwii drama is well plotted , visually striking and filled with enjoyably complex characters who are never what they first appear . 
it's a pleasure to see seinfeld griping about the biz with buddies chris rock , garry shandling and colin quinn . 
if you love motown music , you'll love this documentary . 
this time out , [sade] is an unsettlingly familiar figure -- in turns loyal and deceitful , responsible and reckless , idealistically selfless and coldly self-interested . 
human resources was a good , straightforward tale , but time out is better . it's haunting . it's like a poem . 
to the film's credit , the acting is fresh and unselfconscious , and munch is a marvel of reality versus sappy sentiment . 
chicago is , in many ways , an admirable achievement . 
shainberg weaves a carefully balanced scenario that is controlled by neither character , is weirdly sympathetic to both and manages to be tender and darkly comic . 
even when foreign directors . . . borrow stuff from hollywood , they invariably shake up the formula and make it more interesting . 
a cockamamie tone poem pitched precipitously between swoony lyricism and violent catastrophe . . . the most aggressively nerve-wracking and screamingly neurotic romantic comedy in cinema history . 
sturdy , entertaining period drama . . . both caine and fraser have their moments . 
whether [binoche and magimel] are being charming or angst-ridden , they easily fill their scenes and , fine judges both , never overcook the hysteria . 
a spunky , original take on a theme that will resonate with singles of many ages . 
it's a glorious groove that leaves you wanting more . 
majidi gets uniformly engaging performances from his largely amateur cast . 
 . . . a well-observed and disturbing little movie
fans of nijinsky will savor every minute of cox's work . 
everything you loved about it in 1982 is still there , for everybody who wants to be a kid again , or show it to their own kids . 
jagger the actor is someone you want to see again . 
warm and exotic . 
escapism in its purest form . 
there is a kind of attentive concern that hoffman brings to his characters , as if he has been giving them private lessons , and now it is time for their first public recital . 
a comic gem with some serious sparkles . 
u . s . audiences may find [attal and gainsbourg's] unfamiliar personas give the film an intimate and quaint reality that is a little closer to human nature than what hollywood typically concocts . 
 " cremaster 3 " should come with the warning " for serious film buffs only ! " 
once again , director jackson strikes a rewarding balance between emotion on the human scale and action/effects on the spectacular scale . 
a loving little film of considerable appeal . 
although it's a bit smug and repetitive , this documentary engages your brain in a way few current films do . 
flawed but worthy look at life in u . s . relocation camps . 
it's a lovely film with lovely performances by buy and accorsi . 
no one goes unindicted here , which is probably for the best . and if you're not nearly moved to tears by a couple of scenes , you've got ice water in your veins . 
a warm , funny , engaging film . 
uses sharp humor and insight into human nature to examine class conflict , adolescent yearning , the roots of friendship and sexual identity . 
half submarine flick , half ghost story , all in one criminally neglected film
entertains by providing good , lively company . 
dazzles with its fully-written characters , its determined stylishness ( which always relates to characters and story ) and johnny dankworth's best soundtrack in years . 
visually imaginative , thematically instructive and thoroughly delightful , it takes us on a roller-coaster ride from innocence to experience without even a hint of that typical kiddie-flick sentimentality . 
nothing's at stake , just a twisty double-cross you can smell a mile away--still , the derivative nine queens is lots of fun . 
unlike the speedy wham-bam effect of most hollywood offerings , character development -- and more importantly , character empathy -- is at the heart of italian for beginners . 
you'll gasp appalled and laugh outraged and possibly , watching the spectacle of a promising young lad treading desperately in a nasty sea , shed an errant tear . 
the band's courage in the face of official repression is inspiring , especially for aging hippies ( this one included ) . 
although german cooking does not come readily to mind when considering the world's best cuisine , mostly martha could make deutchland a popular destination for hungry tourists . 
a beguiling splash of pastel colors and prankish comedy from disney . 
as surreal as a dream and as detailed as a photograph , as visually dexterous as it is at times imaginatively overwhelming . 
[lawrence bounces] all over the stage , dancing , running , sweating , mopping his face and generally displaying the wacky talent that brought him fame in the first place . 
the film serves as a valuable time capsule to remind us of the devastating horror suffered by an entire people . 
what's surprising about full frontal is that despite its overt self-awareness , parts of the movie still manage to break past the artifice and thoroughly engage you . 
whether you like rap music or loathe it , you can't deny either the tragic loss of two young men in the prime of their talent or the power of this movie . 
 . . . an otherwise intense , twist-and-turn thriller that certainly shouldn't hurt talented young gaghan's resume . 
it provides the grand , intelligent entertainment of a superior cast playing smart people amid a compelling plot . 
charming and funny ( but ultimately silly ) movie . 
there's . . . tremendous energy from the cast , a sense of playfulness and excitement that seems appropriate . 
it moves quickly , adroitly , and without fuss ; it doesn't give you time to reflect on the inanity -- and the cold war datedness -- of its premise . 
a deep and meaningful film . 
the film's welcome breeziness and some unbelievably hilarious moments -- most portraying the idiocy of the film industry -- make it mostly worth the trip . 
it's a remarkably solid and subtly satirical tour de force . 
enormously entertaining for moviegoers of any age . 
a poignant , artfully crafted meditation on mortality . 
a rarity among recent iranian films : it's a comedy full of gentle humor that chides the absurdity of its protagonist's plight . 
not only is undercover brother as funny , if not more so , than both austin powers films , but it's also one of the smarter , savvier spoofs to come along in some time . 
in a way , the film feels like a breath of fresh air , but only to those that allow it in . 
woody allen's latest is an ambling , broad comedy about all there is to love -- and hate -- about the movie biz . 
it's a stunning lyrical work of considerable force and truth . 
the inhospitability of the land emphasizes the spare precision of the narratives and helps to give them an atavistic power , as if they were tales that had been handed down since the beginning of time . 
[næs] directed the stage version of elling , and gets fine performances from his two leads who originated the characters on stage . 
made me unintentionally famous — as the queasy-stomached critic who staggered from the theater and blacked out in the lobby . but believe it or not , it's one of the most beautiful , evocative works i've seen . 
a coda in every sense , the pinochet case splits time between a minute-by-minute account of the british court's extradition chess game and the regime's talking-head survivors . 
like mike is a winner for kids , and no doubt a winner for lil bow wow , who can now add movies to the list of things he does well . 
[t]his beguiling belgian fable , very much its own droll and delicate little film , has some touching things to say about what is important in life and why . 
here's yet another studio horror franchise mucking up its storyline with glitches casual fans could correct in their sleep . but taken as a stylish and energetic one-shot , the queen of the damned cannot be said to suck . 
you won't like roger , but you will quickly recognize him . and that's a big part of why we go to the movies . 
while the stoically delivered hokum of hart's war is never fun , it's still a worthy addition to the growing canon of post-saving private ryan tributes to the greatest generation . 
we know the plot's a little crazy , but it held my interest from start to finish . 
a sober and affecting chronicle of the leveling effect of loss . 
a fast , funny , highly enjoyable movie . 
a celebration of quirkiness , eccentricity , and certain individuals' tendency to let it all hang out , and damn the consequences . 
writer/director joe carnahan's grimy crime drama is a manual of precinct cliches , but it moves fast enough to cover its clunky dialogue and lapses in logic . 
a smart , witty follow-up . 
while the ideas about techno-saturation are far from novel , they're presented with a wry dark humor . 
an infectious cultural fable with a tasty balance of family drama and frenetic comedy . 
although occasionally static to the point of resembling a stage play , the film delivers a solid mixture of sweetness and laughs . 
it provides an honest look at a community striving to anchor itself in new grounds . 
add yet another hat to a talented head , clooney's a good director . 
building slowly and subtly , the film , sporting a breezy spontaneity and realistically drawn characterizations , develops into a significant character study that is both moving and wise . 
ultimately feels empty and unsatisfying , like swallowing a communion wafer without the wine . 
chilling , well-acted , and finely directed : david jacobson's dahmer . 
a swashbuckling tale of love , betrayal , revenge and above all , faith . 
 . . . a true delight . 
without ever becoming didactic , director carlos carrera expertly weaves this novelistic story of entangled interrelationships and complex morality . 
it's a coming-of-age story we've all seen bits of in other films -- but it's rarely been told with such affecting grace and cultural specificity . 
a literate presentation that wonderfully weaves a murderous event in 1873 with murderous rage in 2002 . 
makes even the claustrophobic on-board quarters seem fun . 
this is as respectful a film as byatt fans could hope for , though lovers of the book may wonder why it's necessary . 
one of the best films of the year with its exploration of the obstacles to happiness faced by five contemporary individuals . . . a psychological masterpiece . 
not far beneath the surface , this reconfigured tale asks disturbing questions about those things we expect from military epics . 
for the most part stevens glides through on some solid performances and witty dialogue . 
broomfield turns his distinctive 'blundering' style into something that could really help clear up the case . 
against all odds in heaven and hell , it creeped me out just fine . 
it's refreshing to see a girl-power movie that doesn't feel it has to prove anything . 
it's worth seeing just on the basis of the wisdom , and at times , the startling optimism , of the children . 
a rigorously structured and exquisitely filmed drama about a father and son connection that is a brief shooting star of love . 
this surreal gilliam-esque film is also a troubling interpretation of ecclesiastes . a rewarding work of art for only the most patient and challenge-hungry moviegoers . 
a quiet treasure -- a film to be savored . 
may be far from the best of the series , but it's assured , wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation . 
a compelling spanish film about the withering effects of jealousy in the life of a young monarch whose sexual passion for her husband becomes an obsession . 
huston nails both the glad-handing and the choking sense of hollow despair . 
may not have generated many sparks , but with his affection for astoria and its people he has given his tale a warm glow . 
a delirious celebration of the female orgasm . 
exquisitely nuanced in mood tics and dialogue , this chamber drama is superbly acted by the deeply appealing veteran bouquet and the chilling but quite human berling . 
it's fascinating to see how bettany and mcdowell play off each other . 
the film is beautifully mounted , but , more to the point , the issues are subtly presented , managing to walk a fine line with regard to the question of joan's madness . 
leigh's film is full of memorable performances from top to bottom . 
one of the most significant moviegoing pleasures of the year . 
jose campanella delivers a loosely autobiographical story brushed with sentimentality but brimming with gentle humor , bittersweet pathos , and lyric moments that linger like snapshots of memory . 
generally , clockstoppers will fulfill your wildest fantasies about being a different kind of time traveler , while happily killing 94 minutes . 
the movie is beautiful to behold and engages one in a sense of epic struggle -- inner and outer -- that's all too rare in hollywood's hastier productions . 
ao sair do cinema , eu estava feliz e com saudades de um tempo em que , para mim , a existência de papai noel era um fato inquestionável . 
neither parker nor donovan is a typical romantic lead , but they bring a fresh , quirky charm to the formula . 
it's a much more emotional journey than what shyamalan has given us in his past two movies , and gibson , stepping in for bruce willis , is the perfect actor to take us on the trip . 
not only are the special effects and narrative flow much improved , and daniel radcliffe more emotionally assertive this time around as harry , but the film conjures the magic of author j . k . rowling's books . 
jaglom . . . put[s] the audience in the privileged position of eavesdropping on his characters
beautifully observed , miraculously unsentimental comedy-drama . 
a must-see for the david mamet enthusiast and for anyone who appreciates intelligent , stylish moviemaking . 
crackerjack entertainment -- nonstop romance , music , suspense and action . 
the acting , costumes , music , cinematography and sound are all astounding given the production's austere locales . 
garcía bernal and talancón are an immensely appealing couple , and even though their story is predictable , you'll want things to work out . 
far more imaginative and ambitious than the trivial , cash-in features nickelodeon has made from its other animated tv series . 
the very definition of the 'small' movie , but it is a good stepping stone for director sprecher . 
a gripping , searing portrait of a lost soul trying to find her way through life . 
suffers from the lack of a compelling or comprehensible narrative . still , as a visual treat , the film is almost unsurpassed . 
so unassuming and pure of heart , you can't help but warmly extend your arms and yell 'safe ! '
an intriguing cinematic omnibus and round-robin that occasionally is more interesting in concept than in execution . 
so refreshingly incisive is grant that for the first time he'll probably appeal more to guys than to their girlfriends who drag them to this movie for the hugh factor . 
at a time when half the so-called real movies are little more than live-action cartoons , it's refreshing to see a cartoon that knows what it is , and knows the form's history . 
the magic of the film lies not in the mysterious spring but in the richness of its performances . 
hoffman notches in the nuances of pain , but his smart , edgy voice and waddling profile ( emphasized here ) accent the humor of wilson's plight , and that saves his pathos from drippiness . 
what better message than 'love thyself' could young women of any size receive ? 
the second coming of harry potter is a film far superior to its predecessor . a movie that successfully crushes a best selling novel into a timeframe that mandates that you avoid the godzilla sized soda . 
84 minutes of rolling musical back beat and supercharged cartoon warfare . it's also , clearly , great fun . 
 . . . takes the beauty of baseball and melds it with a story that could touch anyone regardless of their familiarity with the sport
seldahl's barbara is a precise and moving portrait of someone whose world is turned upside down , first by passion and then by illness . 
a warm but realistic meditation on friendship , family and affection . 
byler reveals his characters in a way that intrigues and even fascinates us , and he never reduces the situation to simple melodrama . 
turns potentially forgettable formula into something strangely diverting . 
bogdanovich tantalizes by offering a peep show into the lives of the era's creme de la celluloid . 
people cinema at its finest . 
the performances take the movie to a higher level . 
what really makes it special is that it pulls us into its world , gives us a hero whose suffering and triumphs we can share , surrounds him with interesting characters and sends us out of the theater feeling we've shared a great adventure . 
 . . . a spoof comedy that carries its share of laughs – sometimes a chuckle , sometimes a guffaw and , to my great pleasure , the occasional belly laugh . 
manages to transcend the sex , drugs and show-tunes plot into something far richer . 
dense with characters and contains some thrilling moments . 
a true pleasure . 
lapaglia's ability to convey grief and hope works with weaver's sensitive reactions to make this a two-actor master class . 
reign of fire looks as if it was made without much thought -- and is best watched that way . 
altogether , this is successful as a film , while at the same time being a most touching reconsideration of the familiar masterpiece . 
we root for [clara and paul] , even like them , though perhaps it's an emotion closer to pity . 
the best film about baseball to hit theaters since field of dreams . 
instead of a hyperbolic beat-charged urban western , it's an unpretentious , sociologically pointed slice of life . 
the film tunes into a grief that could lead a man across centuries . 
if the count of monte cristo doesn't transform caviezel into a movie star , then the game is even more rigged than it was two centuries ago . 
[d]oesn't bother being as cloying or preachy as equivalent evangelical christian movies -- maybe the filmmakers know that the likely audience will already be among the faithful . 
as a tolerable diversion , the film suffices ; a triumph , however , it is not . 
if director michael dowse only superficially understands his characters , he doesn't hold them in contempt . 
if your taste runs to 'difficult' films you absolutely can't miss it . 
[city] reminds us how realistically nuanced a robert de niro performance can be when he is not more lucratively engaged in the shameless self-caricature of 'analyze this' ( 1999 ) and 'analyze that , ' promised ( or threatened ) for later this year . 
 . . . a story we haven't seen on the big screen before , and it's a story that we as americans , and human beings , should know . 
like leon , it's frustrating and still oddly likable . 
all in all , the count of monte cristo is okay , but it is surely no classic , like the novel upon which it is based . 
if you can stomach the rough content , it's worth checking out for the performances alone . 
looking aristocratic , luminous yet careworn in jane hamilton's exemplary costumes , rampling gives a performance that could not be improved upon . 
' . . . mafia , rap stars and hood rats butt their ugly heads in a regurgitation of cinematic violence that gives brutal birth to an unlikely , but likable , hero . '
on this tricky topic , tadpole is very much a step in the right direction , with its blend of frankness , civility and compassion . 
fun , flip and terribly hip bit of cinematic entertainment . 
montias . . . pumps a lot of energy into his nicely nuanced narrative and surrounds himself with a cast of quirky -- but not stereotyped -- street characters . 
falls neatly into the category of good stupid fun . 
the film's performances are thrilling . 
even in its most tedious scenes , russian ark is mesmerizing . 
the continued good chemistry between carmen and juni is what keeps this slightly disappointing sequel going , with enough amusing banter -- blessedly curse-free -- to keep both kids and parents entertained . 
reggio's continual visual barrage is absorbing as well as thought-provoking . 
unfortunately , it appears that [jackie] chan's us influence is starting to show in his hong kong films . 
it all adds up to good fun . 
a big , gorgeous , sprawling swashbuckler that delivers its diversions in grand , uncomplicated fashion . 
the wanton slipperiness of * corpus and its amiable jerking and reshaping of physical time and space would make it a great piece to watch with kids and use to introduce video as art . 
a stunning and overwhelmingly cogent case for kissinger as a calculating war criminal . 
sade is an engaging look at the controversial eponymous and fiercely atheistic hero . 
a quiet , pure , elliptical film
kinnear doesn't aim for our sympathy , but rather delivers a performance of striking skill and depth . 
the subtle strength of " elling " is that it never loses touch with the reality of the grim situation . 
a study in shades of gray , offering itself up in subtle plot maneuvers . . . 
the format gets used best . . . to capture the dizzying heights achieved by motocross and bmx riders , whose balletic hotdogging occasionally ends in bone-crushing screwups . 
has a lot of the virtues of eastwood at his best . 
chilling but uncommercial look into the mind of jeffrey dahmer , serial killer . 
though it's become almost redundant to say so , major kudos go to leigh for actually casting people who look working-class . 
it deserves to be seen by anyone with even a passing interest in the events shaping the world beyond their own horizons . 
a movie that reminds us of just how exciting and satisfying the fantasy cinema can be when it's approached with imagination and flair . 
thanks to scott's charismatic roger and eisenberg's sweet nephew , roger dodger is one of the most compelling variations on in the company of men . 
nine queens is not only than a frighteningly capable debut and genre piece , but also a snapshot of a dangerous political situation on the verge of coming to a head . 
it's the chemistry between the women and the droll scene-stealing wit and wolfish pessimism of anna chancellor that makes this " two weddings and a funeral " fun . 
will amuse and provoke adventurous adults in specialty venues . 
you don't have to know about music to appreciate the film's easygoing blend of comedy and romance . 
third time's the charm . . . yeah , baby ! 
a film about a young man finding god that is accessible and touching to the marrow . 
for the first time in years , de niro digs deep emotionally , perhaps because he's been stirred by the powerful work of his co-stars . 
the film's snags and stumblings are more than compensated for by its wryly subversive tone . 
inside the film's conflict-powered plot there is a decent moral trying to get out , but it's not that , it's the tension that keeps you in your seat . affleck and jackson are good sparring partners . 
the old-world- meets-new mesh is incarnated in the movie's soundtrack , a joyful effusion of disco bollywood that , by the end of monsoon wedding , sent my spirit soaring out of the theater . 
an effectively creepy , fear-inducing ( not fear-reducing ) film from japanese director hideo nakata , who takes the superstitious curse on chain letters and actually applies it . 
having had the good sense to cast actors who are , generally speaking , adored by the movie-going public , khouri then gets terrific performances from them all . 
a subtle and well-crafted ( for the most part ) chiller . 
warm water under a red bridge is a quirky and poignant japanese film that explores the fascinating connections between women , water , nature , and sexuality . 
although laced with humor and a few fanciful touches , the film is a refreshingly serious look at young women . 
the best revenge may just be living well because this film , unlike other dumas adaptations , is far more likened to a treasure than a lengthy jail sentence . 
a delectable and intriguing thriller filled with surprises , read my lips is an original . this is a story of two misfits who don't stand a chance alone , but together they are magnificent . 
highbrow self-appointed guardians of culture need not apply , but those who loved cool as ice have at last found a worthy follow-up . 
one of creepiest , scariest movies to come along in a long , long time , easily rivaling blair witch or the others . 
maud and roland's search for an unknowable past makes for a haunting literary detective story , but labute pulls off a neater trick in possession : he makes language sexy . 
pacino is brilliant as the sleep-deprived dormer , his increasing weariness as much existential as it is physical . 
rare birds has more than enough charm to make it memorable . 
manages to be sweet and wickedly satisfying at the same time . 
this nickleby thing might have more homosexual undertones than an eddie murphy film . and just when you think it can't get any more gay , in pops nathan lane . 
no sophomore slump for director sam mendes , who segues from oscar winner to oscar-winning potential with a smooth sleight of hand . 
the movie isn't just hilarious : it's witty and inventive , too , and in hindsight , it isn't even all that dumb . 
old-form moviemaking at its best . 
ahhhh . . . revenge is sweet ! 
yakusho and shimizu . . . create engaging characterizations in imamura's lively and enjoyable cultural mix . 
you will emerge with a clearer view of how the gears of justice grind on and the death report comes to share airtime alongside the farm report . 
ruzowitzky has taken this mothball-y stuff and made a rather sturdy , old-fashioned entertainment out of it . 
in spite of good housekeeping's unsavory characters and wwf mentality , this white trash war of the roses is a surprisingly engaging film . 
collateral damage finally delivers the goods for schwarzenegger fans . 
there has always been something likable about the marquis de sade . 
as a first-time director , paxton has tapped something in himself as an actor that provides frailty with its dark soul . 
for the most part , director anne-sophie birot's first feature is a sensitive , extraordinarily well-acted drama . 
by the time we learn that andrew's turnabout is fair play is every bit as awful as borchardt's coven , we can enjoy it anyway . 
this riveting world war ii moral suspense story deals with the shadow side of american culture : racial prejudice in its ugly and diverse forms . 
a tender , heartfelt family drama . 
a difficult , absorbing film that manages to convey more substance despite its repetitions and inconsistencies than do most films than are far more pointed and clear . 
for the most part , it's a work of incendiary genius , steering clear of knee-jerk reactions and quick solutions . 
it has the charm of the original american road movies , feasting on the gorgeous , ramshackle landscape of the filmmaker's motherland . 
[chaiken's] talent lies in an evocative , accurate observation of a distinctive milieu and in the lively , convincing dialogue she creates for her characters . 
in all , this is a watchable movie that's not quite the memorable experience it might have been . 
huppert's superbly controlled display of murderous vulnerability ensures that malice has a very human face . 
my thoughts were focused on the characters . that is a compliment to kuras and miller . if i had been thinking about the visual medium , they would have been doing something wrong . 
one of the more intelligent children's movies to hit theaters this year . 
remember the kind of movie we were hoping " ecks vs . sever " or " xxx " was going to be ? this is it . 
not for the prurient or squeamish , it's a daring if overlong examination of an idolized culture , self-loathing and sexual politics . 
a cartoon that's truly cinematic in scope , and a story that's compelling and heartfelt -- even if the heart belongs to a big , four-legged herbivore . 
the film's almost unbearable portrait of sadness and grief transcends its specific story to speak to the ways in which need , history and presumption tangle , and sometimes destroy , blood ties . 
travels a fascinating arc from hope and euphoria to reality and disillusionment . 
polished , well-structured film . 
there's something auspicious , and daring , too , about the artistic instinct that pushes a majority-oriented director like steven spielberg to follow a . i . with this challenging report so liable to unnerve the majority . 
for anyone unfamiliar with pentacostal practices in general and theatrical phenomenon of hell houses in particular , it's an eye-opener . 
it seems like i have been waiting my whole life for this movie and now i can't wait for the sequel . 
it's a bit disappointing that it only manages to be decent instead of dead brilliant . 
apesar de seus graves problemas , o filme consegue entreter . 
an operatic , sprawling picture that's entertainingly acted , magnificently shot and gripping enough to sustain most of its 170-minute length . 
the far future may be awesome to consider , but from period detail to matters of the heart , this film is most transporting when it stays put in the past . 
it inspires a continuing and deeply satisfying awareness of the best movies as monumental 'picture shows . '
awesome creatures , breathtaking scenery , and epic battle scenes add up to another 'spectacular spectacle . '
by candidly detailing the politics involved in the creation of an extraordinary piece of music , [jones] calls our attention to the inherent conflict between commerce and creativity . 
it's unnerving to see recoing's bizzarre reaction to his unemployment . good film , but very glum . 
much as we might be interested in gratuitous sexualization , haneke has a different objective in mind--namely the implications of our craving for fake stimulation . 
dazzling in its complexity , disturbing for its extraordinary themes , the piano teacher is a film that defies categorisation . it haunts , horrifies , startles and fascinates ; it is impossible to look away . ah yes , and then there's the music . . . 
it has charm to spare , and unlike many romantic comedies , it does not alienate either gender in the audience . 
although jackson is doubtless reserving the darkest hours for the return of the king , we long for a greater sense of urgency in the here and now of the two towers . 
it is great summer fun to watch arnold and his buddy gerald bounce off a quirky cast of characters . 
bleakly funny , its characters all the more touching for refusing to pity or memorialize themselves . 
it will not appeal to the impatient , but those who like long books and movies will admire the way it accumulates power and depth . 
this flick is about as cool and crowd-pleasing as a documentary can get . 
 " the ring " is pretty much an english-language copy of the film that inspired it , and it carries the same strengths and flaws . 
the wild thornberrys movie is a jolly surprise . 
griffiths proves she's that rare luminary who continually raises the standard of her profession . 
prancing his way through the tailor-made part of a male hooker approaching the end of his vitality , jagger obviously relishes every self-mocking moment . 
sexy and romantic . 
offers much to enjoy . . . and a lot to mull over in terms of love , loyalty and the nature of staying friends . 
an important movie , a reminder of the power of film to move us and to make us examine our values . 
is this love or is it masochism ? binoche makes it interesting trying to find out . 
a pleasant , if forgettable , romp of a film . 
the mesmerizing performances of the leads keep the film grounded and keep the audience riveted . 
worth watching for dong jie's performance -- and for the way it documents a culture in the throes of rapid change . 
two hours fly by -- opera's a pleasure when you don't have to endure intermissions -- and even a novice to the form comes away exhilarated . 
it's one heck of a character study -- not of hearst or davies but of the unique relationship between them . 
candid camera on methamphetamines . 
a subject like this should inspire reaction in its audience ; the pianist does not . 
equilibrium is what george orwell might have imagined had today's mood-altering drug therapy been envisioned by chemists in 1949 . 
creepy , authentic and dark . this disturbing bio-pic is hard to forget . 
martin and barbara are complex characters -- sometimes tender , sometimes angry -- and the delicate performances by sven wollter and viveka seldahl make their hopes and frustrations vivid . 
a twisty , moody slice of southern gothic . . . 
it's so good that you can practically see the hollywood 'suits' trying to put together the cast and filmmaking team for the all-too -inevitable american remake . 
the weight of the piece , the unerring professionalism of the chilly production , and the fascination embedded in the lurid topic prove recommendation enough . 
an absurdist comedy about alienation , separation and loss . 
'they' begins and ends with scenes so terrifying i'm still stunned . and i've decided to leave a light on every night from now on . 
this tenth feature is a big deal , indeed -- at least the third-best , and maybe even a notch above the previous runner-up , nicholas meyer's star trek vi : the undiscovered country . 
 . . . with " the bourne identity " we return to the more traditional action genre . 
beneath clouds is a succinct low-budget film whose compelling characters and intelligent script are exactly what was missing from rabbit-proof fence . 
the film is a contrivance , as artificial as the video games japanese teens play in a nightclub sequence , but it's an enjoyable one . 
holm . . . embodies the character with an effortlessly regal charisma . 
it is amusing , and that's all it needs to be . 
among the year's most intriguing explorations of alientation . 
a full world has been presented onscreen , not some series of carefully structured plot points building to a pat resolution . 
seldom has a movie so closely matched the spirit of a man and his work . 
audrey tatou has a knack for picking roles that magnify her outrageous charm , and in this literate french comedy , she's as morning-glory exuberant as she was in amélie . 
the movie has an infectious exuberance that will engage anyone with a passing interest in the skate/surf culture , the l . a . beach scene and the imaginative ( and sometimes illegal ) ways kids can make a playground out of the refuse of adults . 
even if you don't think [kissinger's] any more guilty of criminal activity than most contemporary statesmen , he'd sure make a courtroom trial great fun to watch . 
the story and structure are well-honed . fresnadillo's dark and jolting images have a way of plying into your subconscious like the nightmare you had a week ago that won't go away . 
it's made with deftly unsettling genre flair . 
it just may inspire a few younger moviegoers to read stevenson's book , which is a treasure in and of itself . 
funny but perilously slight . 
overall very good for what it's trying to do . 
forgettable horror -- more gory than psychological -- with a highly satisfying quotient of friday-night excitement and milla power . 
ramsay , as in ratcatcher , remains a filmmaker with an acid viewpoint and a real gift for teasing chilly poetry out of lives and settings that might otherwise seem drab and sordid . 
it may seem long at 110 minutes if you're not a fan , because it includes segments of 12 songs at a reunion concert . 
a lean , deftly shot , well-acted , weirdly retro thriller that recalls a raft of '60s and '70s european-set spy pictures . 
it proves quite compelling as an intense , brooding character study . 
the son's room is a triumph of gentility that earns its moments of pathos . 
morton uses her face and her body language to bring us morvern's soul , even though the character is almost completely deadpan . 
the film may appear naked in its narrative form . . . but it goes deeper than that , to fundamental choices that include the complexity of the catholic doctrine
a superbly acted and funny/gritty fable of the humanizing of one woman at the hands of the unseen forces of fate . 
one of the smartest takes on singles culture i've seen in a long time . 
there is a fabric of complex ideas here , and feelings that profoundly deepen them . 
cq's reflection of artists and the love of cinema-and-self suggests nothing less than a new voice that deserves to be considered as a possible successor to the best european directors . 
the emotions are raw and will strike a nerve with anyone who's ever had family trauma . 
holy mad maniac in a mask , splat-man ! good old-fashioned slash-and-hack is back ! 
as unseemly as its title suggests . 
by the end of the movie , you're definitely convinced that these women are spectacular . 
the french are rather good at this kind of thing , unlike the americans , who have a passion for musketeers , only to spoof them . 
the fly-on-the-wall method used to document rural french school life is a refreshing departure from the now more prevalent technique of the docu-makers being a visible part of their work . 
it's an offbeat treat that pokes fun at the democratic exercise while also examining its significance for those who take part . 
allows us to hope that nolan is poised to embark a major career as a commercial yet inventive filmmaker . 
maneuvers skillfully through the plot's hot brine -- until it's undone by the sogginess of its contemporary characters , and actors . 
it has the ability to offend and put off everyone , but it holds you with its outrageousness . 
anchored by friel and williams's exceptional performances , the film's power lies in its complexity . nothing is black and white . 
it's a charming and often affecting journey . 
psychologically savvy . 
no screen fantasy-adventure in recent memory has the showmanship of clones' last 45 minutes . 
a poignant and compelling story about relationships , food of love takes us on a bumpy but satisfying journey of the heart . 
birot creates a drama with such a well-defined sense of place and age -- as in , 15 years old -- that the torments and angst become almost as operatic to us as they are to her characters . 
the chateau cleverly probes the cross-cultural differences between gauls and yanks . 
not since tom cruise in risky business has an actor made such a strong impression in his underwear . 
aside from minor tinkering , this is the same movie you probably loved in 1994 , except that it looks even better . 
uses high comedy to evoke surprising poignance . 
it confirms fincher's status as a film maker who artfully bends technical know-how to the service of psychological insight . 
vera's three actors -- mollà , gil and bardem -- excel in insightful , empathetic performances . 
a marvel like none you've seen . 
with tightly organized efficiency , numerous flashbacks and a constant edge of tension , miller's film is one of 2002's involvingly adult surprises . 
mr . tsai is a very original artist in his medium , and what time is it there ? should be seen at the very least for its spasms of absurdist humor . 
writer/director mark romanek spotlights the underlying caste system in america . it's a scathing portrayal . 
this is a good script , good dialogue , funny even for adults . the characters are interesting and often very creatively constructed from figure to backstory . the film will play equally well on both the standard and giant screens . 
moody , heartbreaking , and filmed in a natural , unforced style that makes its characters seem entirely convincing even when its script is not . 
not a film to rival to live , but a fine little amuse-bouche to keep your appetite whetted . 
true tale of courage -- and complicity -- at auschwitz is a harrowing drama that tries to tell of the unspeakable . 
gives you the steady pulse of life in a beautiful city viewed through the eyes of a character who , in spite of tragic loss and increasing decrepitude , knows in his bones that he is one of the luckiest men alive . 
macdowell , whose wifty southern charm has anchored lighter affairs . . . brings an absolutely riveting conviction to her role . 
what time is it there ? is not easy . it haunts you , you can't forget it , you admire its conception and are able to resolve some of the confusions you had while watching it . 
if you are an actor who can relate to the search for inner peace by dramatically depicting the lives of others onstage , then esther's story is a compelling quest for truth . 
although the level of the comedy declines as the movie proceeds , there's no denying the fun of watching de niro and crystal having fun . 
claude chabrol has here a thriller without thrills , but that's okay . 
for movie lovers as well as opera lovers , tosca is a real treat . 
unflinchingly bleak and desperate
moretti's compelling anatomy of grief and the difficult process of adapting to loss . 
challenging , intermittently engrossing and unflaggingly creative . but it's too long and too convoluted and it ends in a muddle . 
the vivid lead performances sustain interest and empathy , but the journey is far more interesting than the final destination . 
a painfully funny ode to bad behavior . 
'easily my choice for one of the year's best films . '
charles' entertaining film chronicles seinfeld's return to stand-up comedy after the wrap of his legendary sitcom , alongside wannabe comic adams' attempts to get his shot at the big time . 
that dogged good will of the parents and 'vain' jia's defoliation of ego , make the film touching despite some doldrums . 
the movie is for fans who can't stop loving anime , and the fanatical excess built into it . 
the volatile dynamics of female friendship is the subject of this unhurried , low-key film that is so off-hollywood that it seems positively french in its rhythms and resonance . 
a densely constructed , highly referential film , and an audacious return to form that can comfortably sit among jean-luc godard's finest work . 
michael gerbosi's script is economically packed with telling scenes . 
a strangely compelling and brilliantly acted psychological drama . 
candid and comfortable ; a film that deftly balances action and reflection as it lets you grasp and feel the passion others have for their work . 
open-minded kids -- kids who read , kids who dream -- will be comforted by the way it deals with big issues like death and destiny . 
bennett's naturalistic performance speaks volumes more truth than any 'reality' show , and anybody contemplating their own drastic life changes should watch some body first . 
 . . . a good , if not entirely fresh , look at war . 
 the film is powerful , accessible and funny . you won't miss its messages , but you'll be entertained as well . 
'frailty " starts out like a typical bible killer story , but it turns out to be significantly different ( and better ) than most films with this theme . 
if you dig on david mamet's mind tricks . . . rent this movie and enjoy ! 
the primitive force of this film seems to bubble up from the vast collective memory of the combatants . it's like watching a nightmare made flesh . 
it is the sheer , selfish , wound-licking , bar-scrapping doggedness of leon's struggle to face and transmute his demons that makes the movie a spirited and touching occasion , despite its patchy construction . 
a gorgeous , high-spirited musical from india that exquisitely blends music , dance , song , and high drama . 
it's hard to imagine alan arkin being better than he is in this performance . 
for those who pride themselves on sophisticated , discerning taste , this might not seem like the proper cup of tea , however it is almost guaranteed that even the stuffiest cinema goers will laugh their * * * off for an hour-and-a-half . 
despite the 2-d animation , the wild thornberrys movie makes for a surprisingly cinematic experience . 
 . . . a fun little timewaster , helped especially by the cool presence of jean reno . 
[majidi] makes us think twice about immigrants we see around us every day . 
though only 60 minutes long , the film is packed with information and impressions . 
i have no way of knowing exactly how much is exaggeration , but i've got a creepy feeling that the film is closer to the mark than i want to believe . 
immersing us in the endlessly inventive , fiercely competitive world of hip-hop djs , the project is sensational and revelatory , even if scratching makes you itch . 
further proof that the epicenter of cool , beautiful , thought-provoking foreign cinema is smack-dab in the middle of dubya's axis of evil . 
there's really only one good idea in this movie , but the director runs with it and presents it with an unforgettable visual panache . 
a simple , but gritty and well-acted ensemble drama that encompasses a potent metaphor for a country still dealing with its fascist past . 
lovely and poignant . puts a human face on a land most westerners are unfamiliar with . 
i can't say that i liked homeboy ; it'd be more accurate to say that i found it intriguing , bizarre , dogma-like in spots - and quite truthful , in its way . 
displaying about equal amounts of naiveté , passion and talent , beneath clouds establishes sen as a filmmaker of considerable potential . 
the vitality of the actors keeps the intensity of the film high , even as the strafings blend together . 
not since japanese filmmaker akira kurosawa's ran have the savagery of combat and the specter of death been visualized with such operatic grandeur . 
we learn a lot about dying coral and see a lot of life on the reef . 
if the first men in black was money , the second is small change . but it still jingles in the pocket . it's fun lite . 
passable entertainment , but it's the kind of motion picture that won't make much of a splash when it's released , and will not be remembered long afterwards . 
i just loved every minute of this film . 
this is a winning ensemble comedy that shows canadians can put gentle laughs and equally gentle sentiments on the button , just as easily as their counterparts anywhere else in the world . 
just as moving , uplifting and funny as ever . 
my wife is an actress is an utterly charming french comedy that feels so american in sensibility and style it's virtually its own hollywood remake . 
it will grip even viewers who aren't interested in rap , as it cuts to the heart of american society in an unnerving way . 
a muckraking job , the cinematic equivalent of a legal indictment , and a fairly effective one at that . 
a tender , witty , captivating film about friendship , love , memory , trust and loyalty . 
belongs to daniel day-lewis as much as it belongs to martin scorsese ; it's a memorable performance in a big , brassy , disturbing , unusual and highly successful film . 
an exhilarating futuristic thriller-noir , minority report twists the best of technology around a gripping story , delivering a riveting , pulse intensifying escapist adventure of the first order
a psychological thriller with a genuinely spooky premise and an above-average cast , actor bill paxton's directing debut is a creepy slice of gothic rural americana . 
while locals will get a kick out of spotting cleveland sites , the rest of the world will enjoy a fast-paced comedy with quirks that might make the award-winning coen brothers envious . 
pumpkin takes an admirable look at the hypocrisy of political correctness , but it does so with such an uneven tone that you never know when humor ends and tragedy begins . 
if you're hard up for raunchy college humor , this is your ticket right here . 
few films capture so perfectly the hopes and dreams of little boys on baseball fields as well as the grown men who sit in the stands . 
corny , schmaltzy and predictable , but still manages to be kind of heartwarming , nonetheless . it's the perfect kind of film to see when you don't want to use your brain . at all . 
while it regards 1967 as the key turning point of the 20th century , and returns again and again to images of dissidents in the streets , it's alarmingly current . 
feature debuter d . j . caruso directs a crack ensemble cast , bringing screenwriter tony gayton's narcotics noir to life . 
every dance becomes about seduction , where backstabbing and betrayals are celebrated , and sex is currency . 
harris commands the screen , using his frailty to suggest the ravages of a life of corruption and ruthlessness . 
stephen rea , aidan quinn , and alan bates play desmond's legal eagles , and when joined by brosnan , the sight of this grandiloquent quartet lolling in pretty irish settings is a pleasant enough thing , 'tis . 
director of photography benoit delhomme shot the movie in delicious colors , and the costumes and sets are grand . 
the movie's relatively simple plot and uncomplicated morality play well with the affable cast . 
the film is quiet , threatening and unforgettable . 
this illuminating documentary transcends our preconceived vision of the holy land and its inhabitants , revealing the human complexities beneath . 
deliriously funny , fast and loose , accessible to the uninitiated , and full of surprises
trademark american triteness and simplicity are tossed out the window with the intelligent french drama that deftly explores the difficult relationship between a father and son . 
one from the heart . 
more concerned with sade's ideas than with his actions . the movie achieves as great an impact by keeping these thoughts hidden as . . . [quills] did by showing them . 
an entertaining , colorful , action-filled crime story with an intimate heart . 
while undisputed isn't exactly a high , it is a gripping , tidy little movie that takes mr . hill higher than he's been in a while . 
the most compelling wiseman epic of recent years . 
the socio-histo-political treatise is told in earnest strides . . . [and] personal illusion is deconstructed with poignancy . 
it's great escapist fun that recreates a place and time that will never happen again . 
good car chases , great fight scenes , and a distinctive blend of european , american and asian influences . 
liotta put on 30 pounds for the role , and has completely transformed himself from his smooth , goodfellas image . 
a woman's pic directed with resonance by ilya chaiken . 
contando com uma premissa curiosa , o filme mergulha o espectador em um clima de forte suspense , culminando em um desfecho que certamente fica na memória . 
[grant's] bumbling magic takes over the film , and it turns out to be another winning star vehicle . 
 . . . brian de palma is utterly mad : cinema mad , set-piece mad , style mad . it's a beautiful madness . 
generally provides its target audience of youngsters enough stimulating eye and ear candy to make its moral medicine go down . 
there are some wonderfully fresh moments that smooth the moral stiffness with human kindness and hopefulness . 
a grimly competent and stolid and earnest military courtroom drama . 
escaping the studio , piccoli is warmly affecting and so is this adroitly minimalist movie . 
very psychoanalytical -- provocatively so -- and also refreshingly literary . 
a gorgeous , witty , seductive movie . 
the special effects and many scenes of weightlessness look as good or better than in the original , while the oscar-winning sound and james horner's rousing score make good use of the hefty audio system . 
on the heels of the ring comes a similarly morose and humorless horror movie that , although flawed , is to be commended for its straight-ahead approach to creepiness . 
with rabbit-proof fence , noyce has tailored an epic tale into a lean , economical movie . 
[a]n utterly charming and hilarious film that reminded me of the best of the disney comedies from the 60s . 
preaches to two completely different choirs at the same time , which is a pretty amazing accomplishment . 
thanks to haynes' absolute control of the film's mood , and buoyed by three terrific performances , far from heaven actually pulls off this stylistic juggling act . 
birthday girl is an amusing joy ride , with some surprisingly violent moments . 
more romantic , more emotional and ultimately more satisfying than the teary-eyed original . 
an appealingly juvenile trifle that delivers its share of laughs and smiles . 
writer-director's mehta's effort has tons of charm and the whimsy is in the mixture , the intoxicating masala , of cultures and film genres . 
the draw [for " big bad love " ] is a solid performance by arliss howard . 
it gets onto the screen just about as much of the novella as one could reasonably expect , and is engrossing and moving in its own right . 
the terrific and bewilderingly underrated campbell scott gives a star performance that is nothing short of mesmerizing . 
cool ? this movie is a snow emergency . 
like mike isn't interested in recycling old cliches . it wants to tweak them with a taste of tangy new humor . 
smith is careful not to make fun of these curious owners of architectural oddities . instead , he shows them the respect they are due . 
a mess when it comes to the characters and writing . . . but works its way underneath the skin like few movies have in recent memory . 
drops you into a dizzying , volatile , pressure-cooker of a situation that quickly snowballs out of control , while focusing on the what much more than the why . 
zhang . . . has done an amazing job of getting realistic performances from his mainly nonprofessional cast . 
a solid examination of the male midlife crisis . 
if you're in the mood for a bollywood film , here's one for you . 
as the two leads , lathan and diggs are charming and have chemistry both as friends and lovers . 
a beguiling , slow-moving parable about the collision of past and present on a remote seacoast in iran . 
my big fat greek wedding uses stereotypes in a delightful blend of sweet romance and lovingly dished out humor . 
kept aloft largely by a comically adept ensemble . 
the sort of film that makes me miss hitchcock , but also feel optimistic that there's hope for popular cinema yet . 
first-time writer-director serry shows a remarkable gift for storytelling with this moving , effective little film . 
it cuts to the core of what it actually means to face your fears , to be a girl in a world of boys , to be a boy truly in love with a girl , and to ride the big metaphorical wave that is life -- wherever it takes you . 
atom egoyan has conjured up a multilayered work that tackles any number of fascinating issues
essentially an exceptionally well-written , well-edited , well-directed , well-acted , bald rip-off of aliens . 
'de niro . . . is a veritable source of sincere passion that this hollywood contrivance orbits around . '
the whole is quite entertaining , but despite its virtues , there is an unsettled feeling to the film . 
while its careful pace and seemingly opaque story may not satisfy every moviegoer's appetite , the film's final scene is soaringly , transparently moving . 
hardly a masterpiece , but it introduces viewers to a good charitable enterprise and some interesting real people . 
based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters
it's somewhat clumsy and too lethargically paced -- but its story about a mysterious creature with psychic abilities offers a solid build-up , a terrific climax , and some nice chills along the way . 
if you've ever wondered what an ending without the input of studio executives or test audiences would look like , here it is . 
exciting and direct , with ghost imagery that shows just enough to keep us on our toes . 
whether writer-director anne fontaine's film is a ghost story , an account of a nervous breakdown , a trip down memory lane , all three or none of the above , it is as seductive as it is haunting . 
what the film lacks in general focus it makes up for in compassion , as corcuera manages to find the seeds of hope in the form of collective action . 
if you enjoy more thoughtful comedies with interesting conflicted characters ; this one is for you . 
the quality of the art combined with the humor and intelligence of the script allow the filmmakers to present the biblical message of forgiveness without it ever becoming preachy or syrupy . 
this film seems thirsty for reflection , itself taking on adolescent qualities . 
another one of those estrogen overdose movies like " divine secrets of the ya ya sisterhood , " except that the writing , acting and character development are a lot better . 
a breezy romantic comedy that has the punch of a good sitcom , while offering exceptionally well-detailed characters . 
a romantic comedy enriched by a sharp eye for manners and mores . 
viewers of " the ring " are more likely to remember the haunting images than the plot holes . 
a delightful coming-of-age story . 
one of those energetic surprises , an original that pleases almost everyone who sees it . 
an exquisitely crafted and acted tale . 
a taut psychological thriller that doesn't waste a moment of its two-hour running time . 
jones . . . does offer a brutal form of charisma . 
despite its title , punch-drunk love is never heavy-handed . the jabs it employs are short , carefully placed and dead-center . 
there's a wickedly subversive bent to the best parts of birthday girl . 
likely to expertly drum up repressed teenage memories in any viewer . 
blanchett's performance confirms her power once again . 
 . . . a magnificent drama well worth tracking down . 
a good piece of work more often than not . 
the movie understands like few others how the depth and breadth of emotional intimacy give the physical act all of its meaning and most of its pleasure . 
what distinguishes time of favor from countless other thrillers is its underlying concern with the consequences of words and with the complicated emotions fueling terrorist acts . 
smart , provocative and blisteringly funny . 
nothing is sacred in this gut-buster . 
the movie occasionally threatens to become didactic , but it's too grounded in the reality of its characters to go over the edge . a touch of humor or an unexpected plot twist always pulls it back . 
filmmakers who can deftly change moods are treasures and even marvels . so , too , is this comedy about mild culture clashing in today's new delhi . 
if steven soderbergh's 'solaris' is a failure it is a glorious failure . 
 " mostly martha " is a bright , light modern day family parable that wears its heart on its sleeve for all to see . 
it's a scattershot affair , but when it hits its mark it's brilliant . 
a pleasant enough romance with intellectual underpinnings , the kind of movie that entertains even as it turns maddeningly predictable . 
featuring a dangerously seductive performance from the great daniel auteuil , " sade " covers the same period as kaufmann's " quills " with more unsettlingly realistic results . 
a spellbinding african film about the modern condition of rootlessness , a state experienced by millions around the globe . 
it's a work by an artist so in control of both his medium and his message that he can improvise like a jazzman . 
a moody , multi-dimensional love story and sci-fi mystery , solaris is a thought-provoking , haunting film that allows the seeds of the imagination to germinate . 
a very well-made , funny and entertaining picture . 
a giggle-inducing comedy with snappy dialogue and winning performances by an unlikely team of oscar-winners : susan sarandon and goldie hawn . 
its maker , steven spielberg , hasn't had so much fun in two decades , since he was schlepping indiana jones around the globe in search of a giant misplaced ashtray . 
oscar wilde's masterpiece , the importance of being earnest , may be the best play of the 19th century . it's so good that its relentless , polished wit can withstand not only inept school productions , but even oliver parker's movie adaptation . 
the movie does a good job of laying out some of the major issues that we encounter as we journey through life . 
brilliantly explores the conflict between following one's heart and following the demands of tradition . 
this remake gets all there is to get out of a peculiar premise with promise : al pacino loathing robin williams . 
the next generation of mob movie . part low rent godfather . part three stooges . 
lan yu is at times too restrained , yet there are moments it captures the erotics of intimacy in a way that makes most american love stories look downright unfree . 
a thinly veiled look at different aspects of chinese life clashing with each other . 
light years/ several warp speeds/ levels and levels of dilithium crystals better than the pitiful insurrection . which isn't to say that it's the equal of some of its predecessors . 
delightfully rendered
if this story must be told and retold -- and indeed it must -- then the grey zone is to be lauded for finding a new and ingenious angle . 
the lion king was a roaring success when it was released eight years ago , but on imax it seems better , not just bigger . 
a gripping movie , played with performances that are all understated and touching . 
the piece plays as well as it does thanks in large measure to anspaugh's three lead actresses . 
the inspirational screenplay by mike rich covers a lot of ground , perhaps too much , but ties things together , neatly , by the end . 
not the kind of film that will appeal to a mainstream american audience , but there is a certain charm about the film that makes it a suitable entry into the fest circuit . 
director andrew niccol . . . demonstrates a wry understanding of the quirks of fame . his healthy sense of satire is light and fun . . . . 
about a manga-like heroine who fights back at her abusers , it's energetic and satisfying if not deep and psychological . 
this is human comedy at its most amusing , interesting and confirming . 
an artful , intelligent film that stays within the confines of a well-established genre . 
majidi is an unconventional storyteller , capable of finding beauty in the most depressing places . 
richard gere and diane lane put in fine performances as does french actor oliver martinez . 
the minor figures surrounding [bobby] . . . form a gritty urban mosaic . 
this is wild surreal stuff , but brilliant and the camera just kind of sits there and lets you look at this and its like you're going from one room to the next and none of them have any relation to the other . 
it's a demented kitsch mess ( although the smeary digital video does match the muddled narrative ) , but it's savvy about celebrity and has more guts and energy than much of what will open this year . 
there is nothing outstanding about this film , but it is good enough and will likely be appreciated most by sailors and folks who know their way around a submarine . 
all-in-all , the film is an enjoyable and frankly told tale of a people who live among us , but not necessarily with us . 
an interesting story with a pertinent ( cinematically unique ) message , told fairly well and scored to perfection , i found myself struggling to put my finger on that elusive " missing thing . " 
a movie with a real anarchic flair . 
a welcome relief from baseball movies that try too hard to be mythic , this one is a sweet and modest and ultimately winning story . 
a crisp psychological drama [and] a fascinating little thriller that would have been perfect for an old " twilight zone " episode . 
it has more than a few moments that are insightful enough to be fondly remembered in the endlessly challenging maze of moviegoing . 
opening with some contrived banter , cliches and some loose ends , the screenplay only comes into its own in the second half . 
an uncluttered , resonant gem that relays its universal points without lectures or confrontations . 
'[the cockettes] provides a window into a subculture hell-bent on expressing itself in every way imaginable . '
a smart , steamy mix of road movie , coming-of-age story and political satire . 
the modern-day royals have nothing on these guys when it comes to scandals . it's only in fairy tales that princesses that are married for political reason live happily ever after . 
a terrific b movie -- in fact , the best in recent memory . 
 " birthday girl " is an actor's movie first and foremost . 
i walked away from this new version of e . t . just as i hoped i would -- with moist eyes . 
for devotees of french cinema , safe conduct is so rich with period minutiae it's like dying and going to celluloid heaven . 
what's really so appealing about the characters is their resemblance to everyday children . 
shamelessly resorting to pee-related sight gags that might even cause tom green a grimace ; still , myer's energy and the silliness of it all eventually prevail
an absurdist spider web . 
if you're as happy listening to movies as you are watching them , and the slow parade of human frailty fascinates you , then you're at the right film . 
this version moves beyond the original's nostalgia for the communal film experiences of yesteryear to a deeper realization of cinema's inability to stand in for true , lived experience . 
some movies blend together as they become distant memories . mention " solaris " five years from now and i'm sure those who saw it will have an opinion to share . 
allen's funniest and most likeable movie in years . 
it's a glorious spectacle like those d . w . griffith made in the early days of silent film . 
this comic gem is as delightful as it is derivative . 
more timely than its director could ever have dreamed , this quietly lyrical tale probes the ambiguous welcome extended by iran to the afghani refugees who streamed across its borders , desperate for work and food . 
the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions , shows all the signs of rich detail condensed into a few evocative images and striking character traits . 
with three excellent principal singers , a youthful and good-looking diva and tenor and richly handsome locations , it's enough to make you wish jacquot had left well enough alone and just filmed the opera without all these distortions of perspective . 
the production has been made with an enormous amount of affection , so we believe these characters love each other . 
certainly the performances are worthwhile . 
'no es la mejor cinta de la serie , ni la mejor con brosnan a la cabeza , pero de que entretiene ni duda cabe . '
winds up being both revelatory and narcissistic , achieving some honest insight into relationships that most high-concept films candy-coat with pat storylines , precious circumstances and beautiful stars . 
watching these eccentrics is both inspiring and pure joy . 
steven spielberg brings us another masterpiece
finally , the french-produced " read my lips " is a movie that understands characters must come first . 
ms . seigner and mr . serrault bring fresh , unforced naturalism to their characters . 
allen shows he can outgag any of those young whippersnappers making moving pictures today . 
a good film with a solid pedigree both in front of and , more specifically , behind the camera . 
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 . 
i encourage young and old alike to go see this unique and entertaining twist on the classic whale's tale -- you won't be sorry ! 
a literary detective story is still a detective story and aficionados of the whodunit won't be disappointed . 
high crimes steals so freely from other movies and combines enough disparate types of films that it can't help but engage an audience . 
if you're a fan of the series you'll love it and probably want to see it twice . i will be . 
it celebrates the group's playful spark of nonconformity , glancing vividly back at what hibiscus grandly called his 'angels of light . '
the story . . . is inspiring , ironic , and revelatory of just how ridiculous and money-oriented the record industry really is . it is also a testament to the integrity and vision of the band . 
laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid performances , no such thing is a fascinating little tale . 
huppert's show to steal and she makes a meal of it , channeling kathy baker's creepy turn as the repressed mother on boston public just as much as 8 women's augustine . 
nair doesn't treat the issues lightly . she allows each character to confront their problems openly and honestly . 
one of the best silly horror movies of recent memory , with some real shocks in store for unwary viewers . 
the work of a filmmaker who has secrets buried at the heart of his story and knows how to take time revealing them . strange occurrences build in the mind of the viewer and take on extreme urgency . 
has a certain ghoulish fascination , and generates a fair amount of b-movie excitement . 
familiar but utterly delightful . 
a fascinating , dark thriller that keeps you hooked on the delicious pulpiness of its lurid fiction . 
the film aims to be funny , uplifting and moving , sometimes all at once . the extent to which it succeeds is impressive . 
the film brilliantly shines on all the characters , as the direction is intelligently accomplished . 
while not for every taste , this often very funny collegiate gross-out comedy goes a long way toward restoring the luster of the national lampoon film franchise , too long reduced to direct-to-video irrelevancy . 
as broad and cartoonish as the screenplay is , there is an accuracy of observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism . 
in addition to hoffman's powerful acting clinic , this is that rare drama that offers a thoughtful and rewarding glimpse into the sort of heartache everyone has felt , or will feel someday . 
jeffrey tambor's performance as the intelligent jazz-playing exterminator is oscar-worthy . 
from the opening strains of the average white band's " pick up the pieces " , you can feel the love . 
stevens' vibrant creative instincts are the difference between this and countless other flicks about guys and dolls . 
that it'll probably be the best and most mature comedy of the 2002 summer season speaks more of the season than the picture
old people will love this movie , and i mean that in the nicest possible way : last orders will touch the heart of anyone old enough to have earned a 50-year friendship . 
meyjes' provocative film might be called an example of the haphazardness of evil . 
tian emphasizes the isolation of these characters by confining color to liyan's backyard . 
the movie is pretty funny now and then without in any way demeaning its subjects . 
imagine a scenario where bergman approaches swedish fatalism using gary larson's far side humor
too damn weird to pass up , and for the blacklight crowd , way cheaper ( and better ) than pink floyd tickets . 
it is most remarkable not because of its epic scope , but because of the startling intimacy it achieves despite that breadth . 
it's not a great monster movie . but if you've paid a matinee price and bought a big tub of popcorn , there's guilty fun to be had here . chomp chomp ! 
the grey zone gives voice to a story that needs to be heard in the sea of holocaust movies . . . but the film suffers from its own difficulties . 
fun and nimble . 
others , more attuned to the anarchist maxim that 'the urge to destroy is also a creative urge' , or more willing to see with their own eyes , will find morrison's iconoclastic uses of technology to be liberating . 
miller tells this very compelling tale with little fuss or noise , expertly plucking tension from quiet . 
time out is existential drama without any of the pretension associated with the term . 
it's a sweet , laugh-a-minute crowd pleaser that lifts your spirits as well as the corners of your mouth . 
writer/director alexander payne ( election ) and his co-writer jim taylor brilliantly employ their quirky and fearless ability to look american angst in the eye and end up laughing . 
a movie that at its best doesn't just make the most out of its characters' flaws but insists on the virtue of imperfection . 
it's tough to watch , but it's a fantastic movie . 
the best animated feature to hit theaters since beauty and the beast 11 years ago . 
what saves this deeply affecting film from being merely a collection of wrenching cases is corcuera's attention to detail . 
funny and touching . 
pacino is the best he's been in years and keener is marvelous . 
a solid , spooky entertainment worthy of the price of a ticket . 
by turns fanciful , grisly and engagingly quixotic . 
 . . . very funny , very enjoyable . . . 
adaptation is intricately constructed and in a strange way nails all of orlean's themes without being a true adaptation of her book . 
so purely enjoyable that you might not even notice it's a fairly straightforward remake of hollywood comedies such as father of the bride . 
moonlight mile gives itself the freedom to feel contradictory things . it is sentimental but feels free to offend , is analytical and then surrenders to the illogic of its characters , is about grief and yet permits laughter . 
the real triumphs in igby come from philippe , who makes oliver far more interesting than the character's lines would suggest , and sarandon , who couldn't be better as a cruel but weirdly likable wasp matron . 
robin williams has thankfully ditched the saccharine sentimentality of bicentennial man in favour of an altogether darker side . 
if you're willing to have fun with it , you won't feel cheated by the high infidelity of unfaithful . 
australia : land beyond time is an enjoyable big movie primarily because australia is a weirdly beautiful place . 
hoffman's performance is authentic to the core of his being . 
told just proficiently enough to trounce its overly comfortable trappings . 
an enthralling aesthetic experience , one that's steeped in mystery and a ravishing , baroque beauty . 
the quirky drama touches the heart and the funnybone thanks to the energetic and always surprising performance by rachel griffiths . 
a captivating coming-of-age story that may also be the first narrative film to be truly informed by the wireless age . 
what could have been a daytime soap opera is actually a compelling look at a young woman's tragic odyssey . 
duvall is strong as always . 
a no-holds-barred cinematic treat . 
you'd have to be a most hard-hearted person not to be moved by this drama . 
allen's underestimated charm delivers more goodies than lumps of coal . 
measured against practically any like-themed film other than its oscar-sweeping franchise predecessor the silence of the lambs , red dragon rates as an exceptional thriller . 
an exhilarating serving of movie fluff . 
maelstrom is strange and compelling , engrossing and different , a moral tale with a twisted sense of humor . 
it makes you believe the cast and crew thoroughly enjoyed themselves and believed in their small-budget film . 
dark and disturbing , yet compelling to watch . 
too often , son of the bride becomes an exercise in trying to predict when a preordained " big moment " will occur and not " if . " 
the picture uses humor and a heartfelt conviction to tell a story about discovering your destination in life , but also acknowledging the places , and the people , from whence you came . 
a solid piece of journalistic work that draws a picture of a man for whom political expedience became a deadly foreign policy . 
a terrific insider look at the star-making machinery of tinseltown . 
it's a diverting enough hour-and-a-half for the family audience . 
a party-hearty teen flick that scalds like acid . 
as giddy and whimsical and relevant today as it was 270 years ago . 
the film offers an intriguing what-if premise . 
the pianist is the film roman polanski may have been born to make . 
this version does justice both to stevenson and to the sci-fi genre . 
poignant and delicately complex . 
enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers . 
cho's latest comic set isn't as sharp or as fresh as i'm the one that i want . . . but it's still damn funny stuff . 
in the pianist , polanski is saying what he has long wanted to say , confronting the roots of his own preoccupations and obsessions , and he allows nothing to get in the way . 
despite the film's shortcomings , the stories are quietly moving . 
those who love cinema paradiso will find the new scenes interesting , but few will find the movie improved . 
if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy . 
this bracingly truthful antidote to hollywood teenage movies that slather clearasil over the blemishes of youth captures the combustible mixture of a chafing inner loneliness and desperate grandiosity that tend to characterize puberty . 
the reason to see " sade " lay with the chemistry and complex relationship between the marquis ( auteil ) and emilie ( le besco ) . 
it's the filmmakers' post-camp comprehension of what made old-time b movies good-bad that makes eight legged freaks a perfectly entertaining summer diversion . 
serious and thoughtful . 
it strikes hardest… when it reminds you how pertinent its dynamics remain . fifty years after the fact , the world's political situation seems little different , and [director phillip] noyce brings out the allegory with remarkable skill . 
the film's strength isn't in its details , but in the larger picture it paints - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deepest , media-soaked fears . 
 . . . best seen as speculative history , as much an exploration of the paranoid impulse as a creative sequel to the warren report . 
it has its faults , but it is a kind , unapologetic , sweetheart of a movie , and mandy moore leaves a positive impression . 
the saigon of 1952 is an uneasy mix of sensual delights and simmering violence , and the quiet american brings us right into the center of that world . 
despite its shortcomings , girls can't swim represents an engaging and intimate first feature by a talented director to watch , and it's a worthy entry in the french coming-of-age genre . 
flawed , but worth seeing for ambrose's performance . 
with dirty deeds , david caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen . 
the humor and humanity of monsoon wedding are in perfect balance . 
lookin' for sin , american-style ? try hell house , which documents the cautionary christian spook-a-rama of the same name . 
a compelling motion picture that illustrates an american tragedy . 
as comedic spotlights go , notorious c . h . o . hits all the verbal marks it should . 
it's a day at the beach -- with air conditioning and popcorn . 
frida isn't that much different from many a hollywood romance . what sets it apart is the vision that taymor , the avant garde director of broadway's the lion king and the film titus , brings . 
stevens has a flair for dialogue comedy , the film operates nicely off the element of surprise , and the large cast is solid . 
extremely well acted by the four primary actors , this is a seriously intended movie that is not easily forgotten . 
the film exudes the urbane sweetness that woody allen seems to have bitterly forsaken . 
k-19 : the widowmaker is derivative , overlong , and bombastic -- yet surprisingly entertaining . 
it's good , hard-edged stuff , violent and a bit exploitative but also nicely done , morally alert and street-smart . 
cineasts will revel in those visual in-jokes , as in the film's verbal pokes at everything from the likes of miramax chief harvey weinstein's bluff personal style to the stylistic rigors of denmark's dogma movement . 
it's a rare window on an artistic collaboration . 
 . . . begins with promise , but runs aground after being snared in its own tangled plot . 
perhaps the best sports movie i've ever seen . 
cho's timing is priceless . 
 . . . creates a visceral sense of its characters' lives and conflicted emotions that carries it far above . . . what could have been a melodramatic , lifetime channel-style anthology . 
a sensitive , moving , brilliantly constructed work . 
an edgy thriller that delivers a surprising punch . 
a reasonably entertaining sequel to 1994's surprise family hit that may strain adult credibility . 
[reno] delivers a monologue that manages to incorporate both the horror and the absurdity of the situation in a well-balanced fashion . 
there is truth here
a confident , richly acted , emotionally devastating piece of work and 2002's first great film
a touching , small-scale story of family responsibility and care in the community . 
arteta directs one of the best ensemble casts of the year
the casting of von sydow . . . is itself intacto's luckiest stroke . 
no , it's not as single-minded as john carpenter's original , but it's sure a lot smarter and more unnerving than the sequels . 
a gem of a romantic crime comedy that turns out to be clever , amusing and unpredictable . 
stands as one of the year's most intriguing movie experiences , letting its imagery speak for it while it forces you to ponder anew what a movie can be . 
 . . . the first 2/3 of the film are incredibly captivating and insanely funny , thanks in part to interesting cinematic devices ( cool visual backmasking ) , a solid cast , and some wickedly sick and twisted humor . . . 
this movie got me grinning . there's a part of us that cannot help be entertained by the sight of someone getting away with something . 
an old-fashioned drama of substance about a teacher's slide down the slippery slope of dishonesty after an encounter with the rich and the powerful who have nothing but disdain for virtue . 
what's not to like about a movie with a 'children's' song that includes the line 'my stepdad's not mean , he's just adjusting' ? 
this english-language version . . . does full honor to miyazaki's teeming and often unsettling landscape , and to the conflicted complexity of his characters . 
the pleasures that it does afford may be enough to keep many moviegoers occupied amidst some of the more serious-minded concerns of other year-end movies . 
not everyone will welcome or accept the trials of henry kissinger as faithful portraiture , but few can argue that the debate it joins is a necessary and timely one . 
there are no special effects , and no hollywood endings . 
like the original , this version is raised a few notches above kiddie fantasy pablum by allen's astringent wit . 
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 . 
a brutally honest documentary about a much anticipated family reunion that goes wrong thanks to culture shock and a refusal to empathize with others . 
filled with honest performances and exceptional detail , baran is a gentle film with dramatic punch , a haunting ode to humanity . 
sparkles in its deft portrait of tinseltown's seasoned veterans of gossip , wealth , paranoia , and celebrityhood . 
in its dry and forceful way , it delivers the same message as jiri menzel's closely watched trains and danis tanovic's no man's land . 
one-of-a-kind near-masterpiece . 
 . . . a triumph of emotionally and narratively complex filmmaking . 
[haynes'] homage to such films as " all that heaven allows " and " imitation of life " transcends them . simply put , " far from heaven " is a masterpiece . 
an intense and effective film about loneliness and the chilly anonymity of the environments where so many of us spend so much of our time . 
although fairly involving as far as it goes , the film doesn't end up having much that is fresh to say about growing up catholic or , really , anything . 
proves mainly that south korean filmmakers can make undemanding action movies with all the alacrity of their hollywood counterparts . 
a very funny romantic comedy about two skittish new york middle-agers who stumble into a relationship and then struggle furiously with their fears and foibles . 
top-notch action powers this romantic drama . 
beresford nicely mixes in as much humor as pathos to take us on his sentimental journey of the heart . it really is a shame that more won't get an opportunity to embrace small , sweet 'evelyn . '
i stopped thinking about how good it all was , and started doing nothing but reacting to it - feeling a part of its grand locations , thinking urgently as the protagonists struggled , feeling at the mercy of its inventiveness , gasping at its visual delights . 
probably the best case for christianity since chesterton and lewis . 
a gently funny , sweetly adventurous film that makes you feel genuinely good , that is to say , entirely unconned by false sentiment or sharp , overmanipulative hollywood practices . 
would be an unendurable viewing experience for this ultra-provincial new yorker if 26-year-old reese witherspoon were not on hand to inject her pure fantasy character , melanie carmichael , with a massive infusion of old-fashioned hollywood magic . 
visually fascinating . . . an often intense character study about fathers and sons , loyalty and duty . 
a lyrical metaphor for cultural and personal self-discovery and a picaresque view of a little-remembered world . 
schütte's dramatic snapshot of the artist three days before his death offers an interesting bit of speculation as to the issues brecht faced as his life drew to a close . 
a slick , engrossing melodrama . 
s1m0ne's satire is not subtle , but it is effective . it's a quirky , off-beat project . . . . 
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 . 
even if you don't know the band or the album's songs by heart , you will enjoy seeing how both evolve , and you will also learn a good deal about the state of the music business in the 21st century . 
the solid filmmaking and convincing characters makes this a high water mark for this genre . 
films about loss , grief and recovery are pretty valuable these days . seen in that light , moonlight mile should strike a nerve in many . 
it's endlessly inventive , consistently intelligent and sickeningly savage . 
it is definitely worth seeing . 
an impeccable study in perversity . 
far from heaven is a dazzling conceptual feat , but more than that , it's a work of enthralling drama . 
a movie that both thrills the eye and , in its over-the-top way , touches the heart . 
stuffed to the brim with ideas , american instigator michael moore's film is a rambling examination of american gun culture that uses his usual modus operandi of crucifixion through juxtaposition . 
affectionately reminds us that , in any language , the huge stuff in life can usually be traced back to the little things . 
a drama of great power , yet some members of the audience will leave the theater believing they have seen a comedy . 
the large-frame imax camera lends itself beautifully to filming the teeming life on the reefs , making this gorgeous film a must for everyone from junior scientists to grown-up fish lovers . 
the result is more depressing than liberating , but it's never boring . 
a story about intelligent high school students that deals with first love sweetly but also seriously . it is also beautifully acted . 
it isn't that the picture is unfamiliar , but that it manages to find new avenues of discourse on old problems . 
same song , second verse , coulda been better , but it coulda been worse . 
it's a technically superb film , shining with all the usual spielberg flair , expertly utilizing the talents of his top-notch creative team . 
wilco fans will have a great time , and the movie should win the band a few new converts , too . 
tsai has a well-deserved reputation as one of the cinema world's great visual stylists , and in this film , every shot enhances the excellent performances . 
the date movie that franz kafka would have made . 
the fact is that the screen is most alive when it seems most likely that broomfield's interviewees , or even himself , will not be for much longer . 
leguizamo and jones are both excellent and the rest of the cast is uniformly superb . 
i liked this film a lot . . . 
 . . . there is enough originality in 'life' to distance it from the pack of paint-by-number romantic comedies that so often end up on cinema screens . 
a solid and refined piece of moviemaking imbued with passion and attitude . 
nettelbeck has crafted an engaging fantasy of flavours and emotions , one part romance novel , one part recipe book . 
with or without the sex , a wonderful tale of love and destiny , told well by a master storyteller
on the surface a silly comedy , scotland , pa would be forgettable if it weren't such a clever adaptation of the bard's tragic play . 
a weird , arresting little ride . 
a fine film , but it would be a lot better if it stuck to betty fisher and left out the other stories . 
a first-class road movie that proves you can run away from home , but your ego and all your problems go with you . 
you might want to take a reality check before you pay the full ticket price to see " simone , " and consider a dvd rental instead . 
well cast and well directed - a powerful drama with enough sardonic wit to keep it from being maudlin . 
a backstage must-see for true fans of comedy . 
there's back-stabbing , inter-racial desire and , most importantly , singing and dancing . 
the film sounds like the stuff of lurid melodrama , but what makes it interesting as a character study is the fact that the story is told from paul's perspective . 
jones . . . makes a great impression as the writer-director of this little $1 . 8 million charmer , which may not be cutting-edge indie filmmaking but has a huge heart . 
in the disturbingly involving family dysfunctional drama how i killed my father , french director anne fontaine delivers an inspired portrait of male-ridden angst and the emotional blockage that accompanies this human condition
below may not mark mr . twohy's emergence into the mainstream , but his promise remains undiminished . 
there's no reason to miss interview with the assassin
happily stays close to the ground in a spare and simple manner and doesn't pummel us with phony imagery or music . 
its sheer dynamism is infectious . 
for his first attempt at film noir , spielberg presents a fascinating but flawed look at the near future . 
lightweight but appealing . 
it somehow managed to make its way past my crappola radar and find a small place in my heart
perhaps it's cliche to call the film 'refreshing , ' but it is . 'drumline' shows a level of young , black manhood that is funny , touching , smart and complicated . 
it does give a taste of the burning man ethos , an appealing blend of counter-cultural idealism and hedonistic creativity . 
the limited sets and small confined and dark spaces also are homages to a classic low-budget film noir movie . 
the movie is well done , but slow . 
[a] wonderfully loopy tale of love , longing , and voting . 
the fascination comes in the power of the huston performance , which seems so larger than life and yet so fragile , and in the way the ivan character accepts the news of his illness so quickly but still finds himself unable to react . 
the last scenes of the film are anguished , bitter and truthful . mr . koshashvili is a director to watch . 
predictable storyline and by-the-book scripting is all but washed away by sumptuous ocean visuals and the cinematic stylings of director john stockwell . 
antwone fisher certainly does the trick of making us care about its protagonist and celebrate his victories but , with few exceptions , it rarely stoops to cheap manipulation or corny conventions to do it . 
one feels the dimming of a certain ambition , but in its place a sweetness , clarity and emotional openness that recalls the classics of early italian neorealism . 
it challenges , this nervy oddity , like modern art should . 
whenever you think you've figured out late marriage , it throws you for a loop . 
the pianist is polanski's best film . 
it is a testament of quiet endurance , of common concern , of reconciled survival . 
this orange has some juice , but it's far from fresh-squeezed . 
a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china . 
highly engaging . 
high crimes knows the mistakes that bad movies make and is determined not to make them , and maybe that is nobility of a sort . 
cusack's just brilliant in this . 
knows how to make our imagination wonder . 
jae-eun jeong's take care of my cat brings a beguiling freshness to a coming-of-age story with such a buoyant , expressive flow of images that it emerges as another key contribution to the flowering of the south korean cinema . 
the overall fabric is hypnotic , and mr . mattei fosters moments of spontaneous intimacy . 
evokes a palpable sense of disconnection , made all the more poignant by the incessant use of cell phones . 
malcolm mcdowell is cool . paul bettany is cool . paul bettany playing malcolm mcdowell ? cool . 
a touching , sophisticated film that almost seems like a documentary in the way it captures an italian immigrant family on the brink of major changes . 
 . . . a trashy little bit of fluff stuffed with enjoyable performances and a bewildering sense of self-importance
an inventive , absorbing movie that's as hard to classify as it is hard to resist . 
it made me want to get made-up and go see this movie with my sisters . i thought the relationships were wonderful , the comedy was funny , and the love 'real' . 
 ( caine ) proves once again he hasn't lost his touch , bringing off a superb performance in an admittedly middling film . 
bogdanovich puts history in perspective and , via kirsten dunst's remarkable performance , he showcases davies as a young woman of great charm , generosity and diplomacy . 
this breezy caper movie becomes a soulful , incisive meditation on the way we were , and the way we are . 
a captivating new film . 
those who aren't put off by the film's austerity will find it more than capable of rewarding them . 
it's a clear-eyed portrait of an intensely lived time , filled with nervous energy , moral ambiguity and great uncertainties . 
reveals how important our special talents can be when put in service of of others . it also shows how deeply felt emotions can draw people together across the walls that might otherwise separate them . 
with the same sort of good-natured fun found in films like tremors , eight legged freaks is prime escapist fare . 
a sharp , amusing study of the cult of celebrity . 
the sentimental cliches mar an otherwise excellent film . a powerful performance from mel gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an m-16 . 
a graceful , moving tribute to the courage of new york's finest and a nicely understated expression of the grief shared by the nation at their sacrifice . 
a coming-of-age tale from new zealand whose boozy , languid air is balanced by a rich visual clarity and deeply felt performances across the board . 
made to be jaglomized is the cannes film festival , the annual riviera spree of flesh , buzz , blab and money . the charming result is festival in cannes . 
if you're looking for something new and hoping for something entertaining , you're in luck . 
a hugely rewarding experience that's every bit as enlightening , insightful and entertaining as grant's two best films -- four weddings and a funeral and bridget jones's diary . 
a rip-roaring comedy action fest that'll put hairs on your chest . 
if there's no art here , it's still a good yarn -- which is nothing to sneeze at these days . 
simultaneously heart-breaking and very funny , the last kiss is really all about performances . 
there is a subversive element to this disney cartoon , providing unexpected fizzability . 
an unforgettable look at morality , family , and social expectation through the prism of that omnibus tradition called marriage . 
an enjoyable , if occasionally flawed , experiment . 
miyazaki is one of world cinema's most wondrously gifted artists and storytellers . 
if ayurveda can help us return to a sane regimen of eating , sleeping and stress-reducing contemplation , it is clearly a good thing . 
meeting , even exceeding expectations , it's the best sequel since the empire strikes back . . . a majestic achievement , an epic of astonishing grandeur and surprising emotional depth . 
leigh is one of the rare directors who feels acting is the heart and soul of cinema . he allows his cast members to make creative contributions to the story and dialogue . this method almost never fails him , and it works superbly here . 
poetry in motion captured on film . while it can be a bit repetitive , overall it's an entertaining and informative documentary . 
directing with a sure and measured hand , [haneke] steers clear of the sensational and offers instead an unflinching and objective look at a decidedly perverse pathology . 
the entire movie establishes a wonderfully creepy mood . 
i found the ring moderately absorbing , largely for its elegantly colorful look and sound . 
the filmmakers want nothing else than to show us a good time , and in their cheap , b movie way , they succeed . 
amari has dressed up this little parable in a fairly irresistible package full of privileged moments and memorable performances . 
rabbit-proof fence will probably make you angry . but it will just as likely make you weep , and it will do so in a way that doesn't make you feel like a sucker . 
both heartbreaking and heartwarming . . . just a simple fable done in an artless sytle , but it's tremendously moving . 
this masterfully calibrated psychological thriller thrives on its taut performances and creepy atmosphere even if the screenplay falls somewhat short . 
the film's sense of imagery gives it a terrible strength , but it's propelled by the acting . 
the pianist [is] a supremely hopeful cautionary tale of war's madness remembered that we , today , can prevent its tragic waste of life . here is a divine monument to a single man's struggle to regain his life , his dignity and his music . 
strange it is , but delightfully so . 
elegant , mannered and teasing . 
an average coming-of-age tale elevated by the wholesome twist of a pesky mother interfering during her son's discovery of his homosexuality . 
the ingenuity that parker displays in freshening the play is almost in a class with that of wilde himself . 
decasia is what has happened already to so many silent movies , newsreels and the like . the unexpected thing is that its dying , in this shower of black-and-white psychedelia , is quite beautiful . 
a droll , bitchy frolic which pokes fun at the price of popularity and small-town pretension in the lone star state . 
with each of her three protagonists , miller eloquently captures the moment when a woman's life , out of a deep-seated , emotional need , is about to turn onto a different path . 
ryan gosling . . . is at 22 a powerful young actor . 
a minor work yet there's no denying the potency of miller's strange , fleeting brew of hopeful perseverance and hopeless closure . 
as an introduction to the man's theories and influence , derrida is all but useless ; as a portrait of the artist as an endlessly inquisitive old man , however , it's invaluable . 
the film is a verbal duel between two gifted performers . 
imperfect ? yes , but also intriguing and honorable , a worthwhile addition to a distinguished film legacy . 
you'll get the enjoyable basic minimum . but not a whit more . 
what a great way to spend 4 units of your day . 
the movie is hardly a masterpiece , but it does mark ms . bullock's best work in some time . 
as simple and innocent a movie as you can imagine . this is a movie you can trust . 
passionate , irrational , long-suffering but cruel as a tarantula , helga figures prominently in this movie , and helps keep the proceedings as funny for grown-ups as for rugrats . 
 " it's all about the image . " 
feral and uncomfortable . 
vividly conveys the passion , creativity , and fearlessness of one of mexico's most colorful and controversial artists -- a captivating drama that will speak to the nonconformist in us all . 
hollywood ending is not show-stoppingly hilarious , but scathingly witty nonetheless . 
maybe thomas wolfe was right : you can't go home again . 
a compelling yarn , but not quite a ripping one . 
on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience . 
the film has several strong performances . 
i've never bought from telemarketers , but i bought this movie . 
perfectly pitched between comedy and tragedy , hope and despair , about schmidt instead comes far closer than many movies to expressing the way many of us live -- someplace between consuming self-absorption and insistently demanding otherness . 
the funny thing is , i didn't mind all this contrived nonsense a bit . 
[shyamalan] turns the goose-pimple genre on its empty head and fills it with spirit , purpose and emotionally bruised characters who add up to more than body count . 
a sexy , peculiar and always entertaining costume drama set in renaissance spain , and the fact that it's based on true events somehow makes it all the more compelling . 
an entertaining documentary that freshly considers arguments the bard's immortal plays were written by somebody else . 
a highly spirited , imaginative kid's movie that broaches neo-augustinian theology : is god stuck in heaven because he's afraid of his best-known creation ? 
call it magic realism or surrealism , but miss wonton floats beyond reality with a certain degree of wit and dignity . 
raimi and his team couldn't have done any better in bringing the story of spider-man to the big screen . 
the director explores all three sides of his story with a sensitivity and an inquisitiveness reminiscent of truffaut . 
well-acted , well-directed and , for all its moodiness , not too pretentious . 
it's a satisfying summer blockbuster and worth a look . 
boomers and their kids will have a barrie good time . 
real women have curves wears its empowerment on its sleeve but even its worst harangues are easy to swallow thanks to remarkable performances by ferrera and ontiveros . 
ultimately , " mib ii " succeeds due to its rapid-fire delivery and enough inspired levity that it can't be dismissed as mindless . 
stage director sam mendes showcases tom hanks as a depression era hit-man in this dark tale of revenge . 
sitting in the third row of the imax cinema at sydney's darling harbour , but i sometimes felt as though i was in the tiny two seater plane that carried the giant camera around australia , sweeping and gliding , banking and hovering over some of the most not
the real charm of this trifle is the deadpan comic face of its star , jean reno , who resembles sly stallone in a hot sake half-sleep . 
what's so fun about this silly , outrageous , ingenious thriller is the director's talent . watching a brian depalma movie is like watching an alfred hitchcock movie after drinking twelve beers . 
strip it of all its excess debris , and you'd have a 90-minute , four-star movie . as it is , it's too long and unfocused . 
an immensely entertaining look at some of the unsung heroes of 20th century pop music . 
this familiar rise-and-fall tale is long on glamour and short on larger moralistic consequences , though it's told with sharp ears and eyes for the tenor of the times . 
this beautifully animated epic is never dull . 
brian tufano's handsome widescreen photography and paul grabowsky's excellent music turn this fairly parochial melodrama into something really rather special . 
it makes compelling , provocative and prescient viewing . 
a thoroughly entertaining comedy that uses grant's own twist of acidity to prevent itself from succumbing to its own bathos . 
using a stock plot , about a boy injects just enough freshness into the proceedings to provide an enjoyable 100 minutes in a movie theater . 
what eric schaeffer has accomplished with never again may not , strictly speaking , qualify as revolutionary . but it's defiantly and delightfully against the grain . 
the hard-to-predict and absolutely essential chemistry between the down-to-earth bullock and the nonchalant grant proves to be sensational , and everything meshes in this elegant entertainment . 
a positively thrilling combination of ethnography and all the intrigue , betrayal , deceit and murder of a shakespearean tragedy or a juicy soap opera . 
mr . clooney , mr . kaufman and all their collaborators are entitled to take a deep bow for fashioning an engrossing entertainment out of an almost sure-fire prescription for a critical and commercial disaster . 
definitely funny stuff , but it's more of the 'laughing at' variety than the 'laughing with . '
easily the most thoughtful fictional examination of the root causes of anti-semitism ever seen on screen . 
a gripping drama . 
a real winner -- smart , funny , subtle , and resonant . 
family portrait of need , neurosis and nervy negativity is a rare treat that shows the promise of digital filmmaking . 
the pitch must have read like a discarded house beautiful spread . 
uplifting as only a document of the worst possibilities of mankind can be , and among the best films of the year . 
director david jacobson gives dahmer a consideration that the murderer never game his victims . 
the film has a terrific look and salma hayek has a feel for the character at all stages of her life . 
a decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies . 
the performances are remarkable . 
it's burns' visuals , characters and his punchy dialogue , not his plot , that carry waydowntown . 
as literary desecrations go , this makes for perfectly acceptable , occasionally very enjoyable children's entertainment . you'll forget about it by monday , though , and if they're old enough to have developed some taste , so will your kids . 
while i can't say it's on par with the first one , stuart little 2 is a light , fun cheese puff of a movie . 
strange , funny , twisted , brilliant and macabre . 
a genuinely moving and wisely unsentimental drama . 
heaven is a haunting dramatization of a couple's moral ascension . 
the mothman prophecies is best when illustrating the demons bedevilling the modern masculine journey . 
'stock up on silver bullets for director neil marshall's intense freight train of a film . '
plays out with a dogged and eventually winning squareness that would make it the darling of many a kids-and-family-oriented cable channel . 
an entertaining british hybrid of comedy , caper thrills and quirky romance . 
alain choquart's camera barely stops moving , portraying both the turmoil of the time and giving conduct a perpetual sense of urgency , which , for a film that takes nearly three hours to unspool , is both funny and irritating . 
mostly martha could have used a little trimming -- 10 or 15 minutes could be cut and no one would notice -- but it's a pleasurable trifle . the only pain you'll feel as the credits roll is your stomach grumbling for some tasty grub . 
hardly an objective documentary , but it's great cinematic polemic . . . love moore or loathe him , you've got to admire . . . the intensity with which he's willing to express his convictions . 
the mark of a respectable summer blockbuster is one of two things : unadulterated thrills or genuine laughs . 
the film is visually dazzling , the depicted events dramatic , funny and poignant . 
a directorial tour de force by bernard rose , ivans xtc . is one of this year's very best pictures . 
what makes the movie work — to an admittedly limited extent — is the commitment of two genuinely engaging performers . weaver and lapaglia are both excellent , in the kind of low-key way that allows us to forget that they are actually movie folk . 
even the digressions are funny . 
mr . spielberg and his company just want you to enjoy yourselves without feeling conned . and they succeed merrily at their noble endeavor . 
melodrama with a message . 
en sí mismo el rey león es un espectáculo digno de contemplarse en cine , dvd o en su soberbio montaje teatral ; pero el hacerlo en la pantalla imax es una experiencia colosal . 
a perfectly pleasant if slightly pokey comedy . 
coppola's directorial debut is an incredibly layered and stylistic film that , despite a fairly slow paced , almost humdrum approach to character development , still manages at least a decent attempt at meaningful cinema . 
at the end , when the now computerized yoda finally reveals his martial artistry , the film ascends to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside . 
wang xiaoshuai directs this intricately structured and well-realized drama that presents a fascinating glimpse of urban life and the class warfare that embroils two young men . 
it's hard to imagine anybody ever being " in the mood " to view a movie as harrowing and painful as the grey zone , but it's equally hard to imagine anybody being able to tear their eyes away from the screen once it's started . 
bogdanovich taps deep into the hearst mystique , entertainingly reenacting a historic scandal . 
a moving tale of love and destruction in unexpected places , unexamined lives . 
clooney directs this film always keeping the balance between the fantastic and the believable . . . 
beautifully produced . 
smart and taut . 
even if you don't understand what on earth is going on , this is a movie that will stimulate hours of post viewing discussion , if only to be reminded of who did what to whom and why . 
 . . . a lesson in prehistoric hilarity . 
a fantastically vital movie that manages to invest real humor , sensuality , and sympathy into a story about two adolescent boys . 
lawrence plumbs personal tragedy and also the human comedy . 
though a capable thriller , somewhere along the way k-19 jettisoned some crucial drama . 
just about the surest bet for an all-around good time at the movies this summer . 
it would be disingenuous to call reno a great film , but you can say that about most of the flicks moving in and out of the multiplex . this is a movie that is what it is : a pleasant distraction , a friday night diversion , an excuse to eat popcorn . 
os universos de chuck barris e charlie kaufman são complementares . e igualmente fascinantes . 
there is a certain sense of experimentation and improvisation to this film that may not always work , but it is nevertheless compelling . 
the four feathers has rewards , from the exoticism of its seas of sand to the fierce grandeur of its sweeping battle scenes . 
a delicious , quirky movie with a terrific screenplay and fanciful direction by michael gondry . 
this story still seems timely and important . and there's an element of heartbreak to watching it now , with older and wiser eyes , because we know what will happen after greene's story ends . 
the bodily function jokes are about what you'd expect , but there are rich veins of funny stuff in this movie . 
the performances are amiable and committed , and the comedy more often than not hits the bullseye . 
this time , the hype is quieter , and while the movie is slightly less successful than the first , it's still a rollicking good time for the most part . 
there's plenty to enjoy -- in no small part thanks to lau . 
with a romantic comedy plotline straight from the ages , this cinderella story doesn't have a single surprise up its sleeve . but it does somehow manage to get you under its spell . 
though few will argue that it ranks with the best of herzog's works , invincible shows he's back in form , with an astoundingly rich film . 
 " catch me " feels capable of charming the masses with star power , a pop-induced score and sentimental moments that have become a spielberg trademark . 
by no means a great movie , but it is a refreshingly forthright one . 
the casting of raymond j . barry as the 'assassin' greatly enhances the quality of neil burger's impressive fake documentary . 
despite besson's high-profile name being wasabi's big selling point , there is no doubt that krawczyk deserves a huge amount of the credit for the film's thoroughly winning tone . 
this documentary is a dazzling , remarkably unpretentious reminder of what [evans] had , lost , and got back . 
a thoughtful movie , a movie that is concerned with souls and risk and schemes and the consequences of one's actions . 
as satisfyingly odd and intriguing a tale as it was a century and a half ago . . . has a delightfully dour , deadpan tone and stylistic consistency . 
methodical , measured , and gently tedious in its comedy , secret ballot is a purposefully reductive movie -- which may be why it's so successful at lodging itself in the brain . 
a witty , trenchant , wildly unsentimental but flawed look at the ins and outs of modern moviemaking . 
for most of the distance the picture provides a satisfyingly unsettling ride into the dark places of our national psyche . 
by the standards of knucklehead swill , the hot chick is pretty damned funny . 
one of the most gloriously unsubtle and adrenalized extreme shockers since the evil dead . 
[reaches] wholly believable and heart-wrenching depths of despair . 
an absorbing and unsettling psychological drama . 
this movie may not have the highest production values you've ever seen , but it's the work of an artist , one whose view of america , history and the awkwardness of human life is generous and deep . 
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 . 
the entire cast is extraordinarily good . 
yakusho , as always , is wonderful as the long-faced sad sack . . . and his chemistry with shimizu is very believable . 
the film delivers what it promises : a look at the " wild ride " that ensues when brash young men set out to conquer the online world with laptops , cell phones and sketchy business plans . 
young hanks and fisk , who vaguely resemble their celebrity parents , bring fresh good looks and an ease in front of the camera to the work . 
a captivatingly quirky hybrid of character portrait , romantic comedy and beat-the-clock thriller . 
the film sparkles with the the wisdom and humor of its subjects . 
if [jaglom's] latest effort is not the director at his most sparkling , some of its repartee is still worth hearing . 
like the english patient and the unbearable lightness of being , the hours is one of those reputedly " unfilmable " novels that has bucked the odds to emerge as an exquisite motion picture in its own right . 
just about the best straight-up , old-school horror film of the last 15 years . 
a chilling tale of one of the great crimes of 20th century france : the murder of two rich women by their servants in 1933 . 
an oddity , to be sure , but one that you might wind up remembering with a degree of affection rather than revulsion . 
while the film is not entirely successful , it still manages to string together enough charming moments to work . 
a winning piece of work filled with love for the movies of the 1960s . 
e . t . works because its flabbergasting principals , 14-year-old robert macnaughton , 6-year-old drew barrymore and 10-year-old henry thomas , convince us of the existence of the wise , wizened visitor from a faraway planet . 
helps to remind the first world that hiv/aids is far from being yesterday's news . 
a heartening tale of small victories and enduring hope . 
the vistas are sweeping and the acting is far from painful . 
jackson and co have brought back the value and respect for the term epic cinema . 
it may be a somewhat backhanded compliment to say that the film makes the viewer feel like the movie's various victimized audience members after a while , but it also happens to be the movie's most admirable quality
charlotte sometimes is a brilliant movie . it is about irrational , unexplainable life and it seems so real because it does not attempt to filter out the complexity . 
a delightful stimulus for the optic nerves , so much that it's forgivable that the plot feels like every other tale of a totalitarian tomorrow . 
defies logic , the laws of physics and almost anyone's willingness to believe in it . but darned if it doesn't also keep us riveted to our seats . 
a complex psychological drama about a father who returns to his son's home after decades away . 
writer and director otar iosseliani's pleasant tale about a factory worker who escapes for a holiday in venice reveals how we all need a playful respite from the grind to refresh our souls . 
this is not a retread of " dead poets' society . " 
sweet and memorable film . 
a smart , arch and rather cold-blooded comedy . 
keenly observed and refreshingly natural , swimming gets the details right , from its promenade of barely clad bodies in myrtle beach , s . c . , to the adrenaline jolt of a sudden lunch rush at the diner . 
highly watchable stuff . 
 . . . begins on a high note and sustains it beautifully . 
davis . . . gets vivid performances from her cast and pulls off some deft ally mcbeal-style fantasy sequences . 
'it's better to go in knowing full well what's going to happen , but willing to let the earnestness of its execution and skill of its cast take you down a familiar road with a few twists . cynics need not apply . '
funny , somber , absurd , and , finally , achingly sad , bartleby is a fine , understated piece of filmmaking . 
 " red dragon " is entertaining . an obvious copy of one of the best films ever made , how could it not be ? but it is entertaining on an inferior level . it is a popcorn film , not a must-own , or even a must-see . 
succeeds only because bullock and grant were made to share the silver screen . 
both flawed and delayed , martin scorcese's gangs of new york still emerges as his most vital work since goodfellas . 
as any creature-feature fan knows , when you cross toxic chemicals with a bunch of exotic creatures , you get a lot of running around , screaming and death . on that score , the film certainly doesn't disappoint . 
as the movie traces mr . brown's athletic exploits , it is impossible not to be awed by the power and grace of one of the greatest natural sportsmen of modern times . 
a moving and solidly entertaining comedy/drama that should bolster director and co-writer juan josé campanella's reputation in the united states . 
thanks to confident filmmaking and a pair of fascinating performances , the way to that destination is a really special walk in the woods . 
beautifully shot , delicately scored and powered by a set of heartfelt performances , it's a lyrical endeavour . 
a macabre and very stylized swedish fillm about a modern city where all the religious and civic virtues that hold society in place are in tatters . 
a stylistic romp that's always fun to watch . 
informative , intriguing , observant , often touching . . . gives a human face to what's often discussed in purely abstract terms . 
 . . . once the true impact of the day unfolds , the power of this movie is undeniable . 
an honest , sensitive story from a vietnamese point of view . 
 a buoyant romantic comedy about friendship , love , and the truth that we're all in this together . 
the film's intimate camera work and searing performances pull us deep into the girls' confusion and pain as they struggle tragically to comprehend the chasm of knowledge that's opened between them . 
it's the perfect star vehicle for grant , allowing him to finally move away from his usual bumbling , tongue-tied screen persona . 
gaunt , silver-haired and leonine , [harris] brings a tragic dimension and savage full-bodied wit and cunning to the aging sandeman . 
a disturbing examination of what appears to be the definition of a 'bad' police shooting . 
it's been made with an innocent yet fervid conviction that our hollywood has all but lost . 
not only a reminder of how they used to make movies , but also how they sometimes still can be made . 
a three-hour cinema master class . 
eyre is on his way to becoming the american indian spike lee . 
psychologically revealing . 
a witty , whimsical feature debut . 
warm in its loving yet unforgivingly inconsistent depiction of everyday people , relaxed in its perfect quiet pace and proud in its message . i loved this film . 
it provides a grim , upsetting glimpse at the lives of some of the 1 . 2 million palestinians who live in the crowded cities and refugee camps of gaza . 
clint eastwood's blood work is a lot like a well-made pb& j sandwich : familiar , fairly uneventful and boasting no real surprises – but still quite tasty and inviting all the same . 
a movie that will surely be profane , politically charged music to the ears of cho's fans . 
much of this slick and sprightly cgi feature is sufficiently funny to amuse even the most resolutely unreligious parents who escort their little ones to megaplex screenings . 
rarely , a movie is more than a movie . go . 
jacquot's strategy allows his cast the benefit of being able to give full performances . . . while demonstrating vividly that the beauty and power of the opera reside primarily in the music itself . 
quitting delivers a sucker-punch , and its impact is all the greater beause director zhang's last film , the cuddly shower , was a non-threatening multi-character piece centered around a public bath house . 
by not averting his eyes , solondz forces us to consider the unthinkable , the unacceptable , the unmentionable . 
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 . 
while general audiences might not come away with a greater knowledge of the facts of cuban music , they'll be treated to an impressive and highly entertaining celebration of its sounds . 
a fascinating documentary that provides a rounded and revealing overview of this ancient holistic healing system
birthday girl lucks out with chaplin and kidman , who are capable of anteing up some movie star charisma when they need it to sell us on this twisted love story , but who can also negotiate the movie's darker turns . 
an interesting look behind the scenes of chicago-based rock group wilco . . . 
sharp edges and a deep vein of sadness run through its otherwise comic narrative . 
there's lots of cool stuff packed into espn's ultimate x . 
rock solid family fun out of the gates , extremely imaginative through out , but wanes in the middle
as a film director , labute continues to improve . 
the ya-ya's have many secrets and one is - the books are better . translating complex characters from novels to the big screen is an impossible task but they are true to the essence of what it is to be ya-ya . 
the touch is generally light enough and the performances , for the most part , credible . 
i liked about schmidt a lot , but i have a feeling that i would have liked it much more if harry & tonto never existed . 
steers has an unexpectedly adamant streak of warm-blooded empathy for all his disparate manhattan denizens--especially the a * * holes . 
that storytelling has value cannot be denied . not even solondz's thirst for controversy , sketchy characters and immature provocations can fully succeed at cheapening it . 
once the downward spiral comes to pass , auto focus bears out as your typical junkie opera . . . 
a knowing sense of humor and a lot of warmth ignite son of the bride . 
a rich tale of our times , very well told with an appropriate minimum of means . 
the characters are complex and quirky , but entirely believable as the remarkable ensemble cast brings them to life . 
in all fairness , i must report that the children of varying ages in my audience never coughed , fidgeted or romped up and down the aisles for bathroom breaks . 
as gory as the scenes of torture and self-mutilation may be , they are pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting . 
efficient , suitably anonymous chiller . 
gorgeous scenes , masterful performances , but the sickly sweet gender normative narrative left an acrid test in this gourmet's mouth . 
the hot topics of the plot are relegated to the background -- a welcome step forward from the sally jesse raphael atmosphere of films like philadelphia and american beauty . 
it's usually a bad sign when directors abandon their scripts and go where the moment takes them , but olympia , wash . , based filmmakers anne de marcken and marilyn freeman did just that and it's what makes their project so interesting . 
a memorable experience that , like many of his works , presents weighty issues colorfully wrapped up in his own idiosyncratic strain of kitschy goodwill . 
executed with such gentle but insistent sincerity , with such good humor and appreciation of the daily grind that only the most hardhearted scrooge could fail to respond . 
the gentle comic treatment of adolescent sturm und drang should please fans of chris fuhrman's posthumously published cult novel . 
director claude chabrol has become the master of innuendo . it is not what you see , it is what you think you see . 
a deftly entertaining film , smartly played and smartly directed . 
a documentary to make the stones weep -- as shameful as it is scary . 
i hope the movie is widely seen and debated with appropriate ferocity and thoughtfulness . 
 a thought-provoking look at how western foreign policy - however well intentioned - can wreak havoc in other cultures . 
asks what truth can be discerned from non-firsthand experience , and specifically questions cinema's capability for recording truth . 
the journey to the secret's eventual discovery is a separate adventure , and thrill enough . 
a quiet , disquieting triumph . 
darkly funny and frequently insightful . 
 . . . the tale of her passionate , tumultuous affair with musset unfolds as sand's masculine persona , with its love of life and beauty , takes form . 
if you want to see a train wreck that you can't look away from , then look no further , because here it is . 
there's so much to look at in metropolis you hate to tear your eyes away from the images long enough to read the subtitles . 
the search for redemption makes for a touching love story , mainly because blanchett and ribisi compellingly tap into a spiritual aspect of their characters' suffering . 
a fast paced and suspenseful argentinian thriller about the shadow side of play . 
a film of ideas and wry comic mayhem . 
at its worst the screenplay is callow , but at its best it is a young artist's thoughtful consideration of fatherhood . 
a worthwhile documentary , whether you're into rap or not , even if it may still leave you wanting more answers as the credits roll . 
fessenden's narrative is just as much about the ownership and redefinition of myth as it is about a domestic unit finding their way to joy . 
that the film opens with maggots crawling on a dead dog is not an out of place metaphor . 
stanley kwan has directed not only one of the best gay love stories ever made , but one of the best love stories of any stripe . 
the concert footage is stirring , the recording sessions are intriguing , and -- on the way to striking a blow for artistic integrity -- this quality band may pick up new admirers . 
norton holds the film together . 
[there's] quite a bit of heart , as you would expect from the directors of the little mermaid and aladdin . 
you won't have any trouble getting kids to eat up these veggies . 
a creaky staircase gothic . 
enjoyably dumb , sweet , and intermittently hilarious -- if you've a taste for the quirky , steal a glimpse . 
a movie that sends you out of the theater feeling like you've actually spent time living in another community . 
light-years ahead of paint-by-number american blockbusters like pearl harbor , at least artistically . 
a fascinating documentary about the long and eventful spiritual journey of the guru who helped launch the new age . 
isabelle huppert excels as the enigmatic mika and anna mouglalis is a stunning new young talent in one of chabrol's most intense psychological mysteries . 
perhaps not since nelson eddy crooned his indian love call to jeanette macdonald has there been a movie so unabashedly canadian , not afraid to risk american scorn or disinterest . 
wedding feels a bit anachronistic . still , not every low-budget movie must be quirky or bleak , and a happy ending is no cinematic sin . 
it's still a comic book , but maguire makes it a comic book with soul . 
brings to a spectacular completion one of the most complex , generous and subversive artworks of the last decade . 
an amusing and unexpectedly insightful examination of sexual jealousy , resentment and the fine line between passion and pretence . 
a fascinating , bombshell documentary that should shame americans , regardless of whether or not ultimate blame finally lies with kissinger . should be required viewing for civics classes and would-be public servants alike . 
adaptation's success in engaging the audience in the travails of creating a screenplay is extraordinary . 
a polished and vastly entertaining caper film that puts the sting back into the con . 
it's no surprise that as a director washington demands and receives excellent performances , from himself and from newcomer derek luke . 
 . . . while each moment of this broken character study is rich in emotional texture , the journey doesn't really go anywhere . 
the film gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection . 
it's an often-cute film but either needs more substance to fill the time or some judicious editing . 
this may be burns's strongest film since the brothers mcmullen . 
what makes this film special is serry's ability to take what is essentially a contained family conflict and put it into a much larger historical context . 
it's quaid who anchors the film with his effortless performance and that trademark grin of his -- so perfect for a ballplayer . 
it is ok for a movie to be something of a sitcom apparatus , if the lines work , the humor has point and the actors are humanly engaged . 
though not for everyone , the guys is a somber trip worth taking . 
will warm your heart without making you feel guilty about it . 
a sly female empowerment movie , although not in a way anyone would expect . 
you really have to salute writer-director haneke ( he adapted elfriede jelinek's novel ) for making a film that isn't nearly as graphic but much more powerful , brutally shocking and difficult to watch . 
it's a wonderful , sobering , heart-felt drama . 
runs on the pure adrenalin of pacino's performance . 
the paradiso's rusted-out ruin and ultimate collapse during the film's final ( restored ) third…emotionally belittle a cinema classic . sometimes shorter is better . 
phillip noyce and all of his actors -- as well as his cinematographer , christopher doyle -- understand the delicate forcefulness of greene's prose , and it's there on the screen in their version of the quiet american . 
the film just might turn on many people to opera , in general , an art form at once visceral and spiritual , wonderfully vulgar and sublimely lofty -- and as emotionally grand as life . 
as a vehicle to savour binoche's skill , the film is well worthwhile . 
 . . . wise and elegiac . . . 
the huskies are beautiful , the border collie is funny and the overall feeling is genial and decent . 
whatever complaints i might have , i'd take [its] earnest errors and hard-won rewards over the bombastic self-glorification of other feel-good fiascos like antwone fisher or the emperor's club any time . 
mastering its formidable arithmetic of cameras and souls , group articulates a flood of emotion . 
a pretty decent kid-pleasing , tolerable-to-adults lark of a movie . 
even during the climactic hourlong cricket match , boredom never takes hold . 
combine the paranoid claustrophobia of a submarine movie with the unsettling spookiness of the supernatural -- why didn't hollywood think of this sooner ? 
like kubrick , soderbergh isn't afraid to try any genre and to do it his own way . 
nothing can detract from the affection of that moral favorite : friends will be friends through thick and thin . 
if the film has a problem , its shortness disappoints : you want the story to go on and on . 
unlike most anime , whose most ardent fans outside japan seem to be introverted young men with fantasy fetishes , metropolis never seems hopelessly juvenile . 
the plot twists give i am trying to break your heart an attraction it desperately needed . 
the most brilliant and brutal uk crime film since jack carter went back to newcastle , the first half of gangster no . 1 drips with style and , at times , blood . 
like its new england characters , most of whom wander about in thick clouds of denial , the movie eventually gets around to its real emotional business , striking deep chords of sadness . 
the bai brothers have taken an small slice of history and opened it up for all of us to understand , and they've told a nice little story in the process . 
flamboyant in some movies and artfully restrained in others , 65-year-old jack nicholson could be looking at his 12th oscar nomination by proving that he's now , more than ever , choosing his roles with the precision of the insurance actuary . 
 . . . is there a deeper , more direct connection between these women , one that spans time and reveals meaning ? you bet there is and it's what makes this rather convoluted journey worth taking . 
the most amazing super-sized dosage of goofball stunts any " jackass " fan could want . 
real women may have many agendas , but it also will win you over , in a big way . 
young everlyn sampi , as the courageous molly craig , simply radiates star-power potential in this remarkable and memorable film . 
surprisingly powerful and universal . 
apart from its own considerable achievement , metropolis confirms tezuka's status as both the primary visual influence on the animé tradition and its defining philosophical conscience . 
i'll put it this way : if you're in the mood for a melodrama narrated by talking fish , this is the movie for you . 
morvern callar confirms lynne ramsay as an important , original talent in international cinema . 
well-done supernatural thriller with keen insights into parapsychological phenomena and the soulful nuances of the grieving process . 
a plethora of engaging diatribes on the meaning of 'home , ' delivered in grand passion by the members of the various households . 
it's technically sumptuous but also almost wildly alive . 
this film puts wang at the forefront of china's sixth generation of film makers . 
it's refreshing to see a movie that embraces its old-fashioned themes and in the process comes out looking like something wholly original . 
wiseman is patient and uncompromising , letting his camera observe and record the lives of women torn apart by a legacy of abuse . 
there's none of the happily-ever -after spangle of monsoon wedding in late marriage -- and that's part of what makes dover kosashvili's outstanding feature debut so potent . 
an ingenious and often harrowing look at damaged people and how families can offer either despair or consolation . 
arguably the best script that besson has written in years . 
it's no lie -- big fat liar is a real charmer . 
invigorating , surreal , and resonant with a rainbow of emotion . 
director alfonso cuaron gets vivid , convincing performances from a fine cast , and generally keeps things going at a rapid pace , occasionally using an omniscient voice-over narrator in the manner of french new wave films . 
pray has really done his subject justice . 
an unexpectedly sweet story of sisterhood . 
maintains your sympathy for this otherwise challenging soul by letting you share her one-room world for a while . 
a subtle , humorous , illuminating study of politics , power and social mobility . 
even if you have no interest in the gang-infested , east-vs . -west coast rap wars , this modern mob music drama never fails to fascinate . 
nair's attention to detail creates an impeccable sense of place , while thurman and lewis give what can easily be considered career-best performances . 
berry's saucy , full-bodied performance gives this aging series a much needed kick , making " die another day " one of the most entertaining bonds in years
red dragon is less baroque and showy than hannibal , and less emotionally affecting than silence . but , like silence , it's a movie that gets under your skin . 
caviezel embodies the transformation of his character completely . 
a creepy , intermittently powerful study of a self-destructive man . . . about as unsettling to watch as an exploratory medical procedure or an autopsy . 
pacino and williams seem to keep upping the ante on each other , just as their characters do in the film . what results is the best performance from either in years . 
the cast is top-notch and i predict there will be plenty of female audience members drooling over michael idemoto as michael . 
béart and berling are both superb , while huppert . . . is magnificent . 
all the actors are good in pauline & paulette but van der groen , described as 'belgium's national treasure , ' is especially terrific as pauline . 
miyazaki has created such a vibrant , colorful world , it's almost impossible not to be swept away by the sheer beauty of his images . 
muccino seems to be exploring the idea of why human beings long for what they don't have , and how this gets us in trouble . but even while his characters are acting horribly , he is always sympathetic . 
whether or not you buy mr . broomfield's findings , the film acquires an undeniable entertainment value as the slight , pale mr . broomfield continues to force himself on people and into situations that would make lesser men run for cover . 
ozpetek joins the ranks of those gay filmmakers who have used the emigre experience to explore same-sex culture in ways that elude the more nationally settled . 
…an eerily suspenseful , deeply absorbing piece that works as a treatise on spirituality as well as a solid sci-fi thriller . 
i've never seen or heard anything quite like this film , and i recommend it for its originality alone . 
nicole kidman makes it a party worth attending . 
catch it . . . if you can ! 
the direction has a fluid , no-nonsense authority , and the performances by harris , phifer and cam'ron seal the deal . 
the komediant is a tale worth catching . 
the writing is clever and the cast is appealing . 
the simplicity of the way home has few equals this side of aesop
life on the rez is no picnic : this picture shows you why . 
spielberg has managed to marry science fiction with film noir and action flicks with philosophical inquiry . 
it's the type of film about growing up that we don't see often enough these days : realistic , urgent , and not sugarcoated in the least . 
a taut , sobering film . 
exudes the fizz of a busby berkeley musical and the visceral excitement of a sports extravaganza . 
it's full of cheesy dialogue , but great trashy fun that finally returns de palma to his pulpy thrillers of the early '80s . 
the results , if not memorable , are at least interesting . 
a quietly moving look back at what it was to be iranian-american in 1979 . 
like a veteran head cutter , barbershop is tuned in to its community . 
i'm sure mainstream audiences will be baffled , but , for those with at least a minimal appreciation of woolf and clarissa dalloway , the hours represents two of those well spent . 
you live the mood rather than savour the story . 
angela gheorghiu as famous prima donna floria tosca , roberto alagna as her lover mario cavaradossi , and ruggero as the villainous , lecherous police chief scarpia , all sing beautifully and act adequately . 
while there are times when the film's reach exceeds its grasp , the production works more often than it doesn't . 
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 . 
watching this gentle , mesmerizing portrait of a man coming to terms with time , you barely realize your mind is being blown . 
the beautifully choreographed kitchen ballet is simple but absorbing . 
there's . . . an underlying old world sexism to monday morning that undercuts its charm . 
 " the best disney movie since the lion king " 
transcends its agenda to deliver awe-inspiring , at times sublime , visuals and offer a fascinating glimpse into the subculture of extreme athletes whose derring-do puts the x into the games . 
spare yet audacious . . . 
think of it as gidget , only with muscles and a lot more smarts , but just as endearing and easy to watch . 
there is no solace here , no entertainment value , merely a fierce lesson in where filmmaking can take us . 
giggling at the absurdities and inconsistencies is part of the fun . but the talented cast alone will keep you watching , as will the fight scenes . 
arteta paints a picture of lives lived in a state of quiet desperation . 
drug abuse , infidelity and death aren't usually comedy fare , but turpin's film allows us to chuckle through the angst . 
while insomnia is in many ways a conventional , even predictable remake , nolan's penetrating undercurrent of cerebral and cinemantic flair lends ( it ) stimulating depth . 
efteriades gives the neighborhood -- scenery , vibe and all -- the cinematic equivalent of a big , tender hug . 
this is a nicely handled affair , a film about human darkness but etched with a light ( yet unsentimental ) touch . 
amazing ! a college story that works even without vulgarity , sex scenes , and cussing ! 
the amazing film work is so convincing that by movies' end you'll swear you are wet in some places and feel sand creeping in others . 
a raunchy and frequently hilarious follow-up to the gifted korean american stand-up's i'm the one that i want . 
if you ever wanted to be an astronaut , this is the ultimate movie experience - it's informative and breathtakingly spectacular . 
while parker and co-writer catherine di napoli are faithful to melville's plotline , they and a fully engaged supporting cast . . . have made the old boy's characters more quick-witted than any english lit major would have thought possible . 
a smart , sassy and exceptionally charming romantic comedy . 
surprisingly insightful
there are flaws , but also stretches of impact and moments of awe ; we're wrapped up in the characters , how they make their choices , and why . 
a gift to anyone who loves both dance and cinema
it seems grant doesn't need the floppy hair and the self-deprecating stammers after all . 
a reminder that beyond all the hype and recent digital glitz , spielberg knows how to tell us about people . 
one of the finest , most humane and important holocaust movies ever made . 
an engrossing and infectiously enthusiastic documentary . 
a beautiful , timeless and universal tale of heated passions -- jealousy , betrayal , forgiveness and murder . 
a culture-clash comedy that , in addition to being very funny , captures some of the discomfort and embarrassment of being a bumbling american in europe . 
shattering , devastating documentary on two maladjusted teens in a downward narcotized spiral . extraordinary debut from josh koury . 
the most compelling performance of the year adds substantial depth to this shocking testament to anti-semitism and neo-fascism . 
for those who are intrigued by politics of the '70s , the film is every bit as fascinating as it is flawed . 
all right , so it's not a brilliant piece of filmmaking , but it is a funny ( sometimes hilarious ) comedy with a deft sense of humor about itself , a playful spirit and a game cast . 
douglas mcgrath's nicholas nickleby does dickens as it should be done cinematically . 
it's a lovely , eerie film that casts an odd , rapt spell . 
the quirky and recessive charms of co-stars martin donovan and mary-louise parker help overcome the problematic script . 
it's good to see michael caine whipping out the dirty words and punching people in the stomach again . 
you just know something terrible is going to happen . but when it does , you're entirely unprepared . 
it's fun , wispy , wise and surprisingly inoffensive for a film about a teen in love with his stepmom . 
able to provide insight into a fascinating part of theater history . 
an unflinching , complex portrait of a modern israel that is rarely seen on-screen . 
a jewish ww ii doc that isn't trying simply to out-shock , out-outrage or out-depress its potential audience ! who knew . . . 
it's a familiar story , but one that is presented with great sympathy and intelligence . 
gently humorous and touching . 
it won't hold up over the long haul , but in the moment , finch's tale provides the forgettable pleasures of a saturday matinee . 
kinnear's performance is a career-defining revelation . 
the film is predictable in the reassuring manner of a beautifully sung holiday carol . 
 . . . hits every cliche we've come to expect , including the assumption that " crazy " people are innocent , childlike and inherently funny . 
the strong subject matter continues to shock throughout the film . not everyone will play the dark , challenging tune taught by the piano teacher . 
a certain sexiness underlines even the dullest tangents . 
you may be captivated , as i was , by its moods , and by its subtly transformed star , and still wonder why paul thomas anderson ever had the inclination to make the most sincere and artful movie in which adam sandler will probably ever appear . 
there is no substitute for on-screen chemistry , and when friel pulls the strings that make williams sink into melancholia , the reaction in williams is as visceral as a gut punch . 
that old adage about women being unknowable gets an exhilarating new interpretation in morvern callar . 
a mix of gritty realism , crisp storytelling and radiant compassion that effortlessly draws you in . 
after watching it , you can only love the players it brings to the fore for the gifted but no-nonsense human beings they are and for the still-inestimable contribution they have made to our shared history . 
in his u . s . debut , mr . schnitzler proves himself a deft pace master and stylist . 
ultimate x is a ride , basically the kind of greatest-hits reel that might come with a subscription to espn the magazine . 
rich in shadowy metaphor and as sharp as a samurai sword , jiang wen's devils on the doorstep is a wartime farce in the alternately comic and gut-wrenching style of joseph heller or kurt vonnegut . 
offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a hollywood film . 
a winning comedy with its wry observations about long-lived friendships and the ways in which we all lose track of ourselves by trying to please others . 
its cast full of caffeinated comedy performances more than make up for its logical loopholes , which fly by so fast there's no time to think about them anyway . 
lohman adapts to the changes required of her , but the actress and director peter kosminsky never get the audience to break through the wall her character erects
although it includes a fair share of dumb drug jokes and predictable slapstick , " orange county " is far funnier than it would seem to have any right to be . 
for a movie audience , the hours doesn't connect in a neat way , but introduces characters who illuminate mysteries of sex , duty and love . 
a bright , inventive , thoroughly winning flight 