Full Code of bhaveshoswal/CNN-text-classification-keras for AI

Repository: bhaveshoswal/CNN-text-classification-keras
Branch: master
Commit: 1db39e76894c
Files: 6
Total size: 1.2 MB

Directory structure:
gitextract_1jpa0vf7/

├── README.md
├── _config.yml
├── data/
│   ├── rt-polarity.neg
│   └── rt-polarity.pos
├── data_helpers.py
└── model.py

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FILE CONTENTS
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FILE: README.md
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# CNN-text-classification-keras

It is simplified implementation of [Implementing a CNN for Text Classification in TensorFlow](http://www.wildml.com/2015/12/implementing-a-cnn-for-text-classification-in-tensorflow/) in Keras as functional api

# Requirements
- [Python 3.5.2](https://www.python.org/)
- [Keras 2.1.2](http://keras.io/)
- [Tensorflow 1.4.1](https://www.tensorflow.org/)

# Traning
Run the below command and it will run for 100 epochs if you want change it just open [model.py](https://github.com/bhaveshoswal/CNN-text-classification-keras/blob/master/model.py)

`python model.py`

# For new data
You have to rebuild the vocabulary and then train.

# For Citation
```
@misc{bhaveshoswal,
  author = {Bhavesh Vinod Oswal},
  title = {CNN-text-classification-keras},
  year = {2016},
  publisher = {GitHub},
  journal = {GitHub repository},
  howpublished = {\url{https://github.com/bhaveshoswal/CNN-text-classification-keras}},
}
```


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FILE: _config.yml
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theme: jekyll-theme-merlot

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FILE: data/rt-polarity.neg
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simplistic , silly and tedious . 
it's so laddish and juvenile , only teenage boys could possibly find it funny . 
exploitative and largely devoid of the depth or sophistication that would make watching such a graphic treatment of the crimes bearable . 
[garbus] discards the potential for pathological study , exhuming instead , the skewed melodrama of the circumstantial situation . 
a visually flashy but narratively opaque and emotionally vapid exercise in style and mystification . 
the story is also as unoriginal as they come , already having been recycled more times than i'd care to count . 
about the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience's meat grinder one more time . 
not so much farcical as sour . 
unfortunately the story and the actors are served with a hack script . 
all the more disquieting for its relatively gore-free allusions to the serial murders , but it falls down in its attempts to humanize its subject . 
a sentimental mess that never rings true . 
while the performances are often engaging , this loose collection of largely improvised numbers would probably have worked better as a one-hour tv documentary . 
interesting , but not compelling . 
on a cutting room floor somewhere lies . . . footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire . 
while the ensemble player who gained notice in guy ritchie's lock , stock and two smoking barrels and snatch has the bod , he's unlikely to become a household name on the basis of his first starring vehicle . 
there is a difference between movies with the courage to go over the top and movies that don't care about being stupid
nothing here seems as funny as it did in analyze this , not even joe viterelli as de niro's right-hand goombah . 
such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us " the skulls " and last year's " rollerball . " enough said , except : film overboard ! 
here , common sense flies out the window , along with the hail of bullets , none of which ever seem to hit sascha . 
this 100-minute movie only has about 25 minutes of decent material . 
the execution is so pedestrian that the most positive comment we can make is that rob schneider actually turns in a pretty convincing performance as a prissy teenage girl . 
on its own , it's not very interesting . as a remake , it's a pale imitation . 
it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there's a little girl-on-girl action . 
a farce of a parody of a comedy of a premise , it isn't a comparison to reality so much as it is a commentary about our knowledge of films . 
as exciting as all this exoticism might sound to the typical pax viewer , the rest of us will be lulled into a coma . 
the party scenes deliver some tawdry kicks . the rest of the film . . . is dudsville . 
our culture is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender  and i know this because i've seen 'jackass : the movie . '
the criticism never rises above easy , cynical potshots at morally bankrupt characters . . . 
the movie's something-borrowed construction feels less the product of loving , well integrated homage and more like a mere excuse for the wan , thinly sketched story . killing time , that's all that's going on here . 
stupid , infantile , redundant , sloppy , over-the-top , and amateurish . yep , it's " waking up in reno . " go back to sleep . 
somewhere in the middle , the film compels , as demme experiments he harvests a few movie moment gems , but the field of roughage dominates . 
the action clichs just pile up . 
payami tries to raise some serious issues about iran's electoral process , but the result is a film that's about as subtle as a party political broadcast . 
the only surprise is that heavyweights joel silver and robert zemeckis agreed to produce this ; i assume the director has pictures of them cavorting in ladies' underwear . 
another useless recycling of a brutal mid-'70s american sports movie . 
i didn't laugh . i didn't smile . i survived . 
please , someone , stop eric schaeffer before he makes another film . 
most of the problems with the film don't derive from the screenplay , but rather the mediocre performances by most of the actors involved
 . . . if you're just in the mood for a fun -- but bad -- movie , you might want to catch freaks as a matinee . 
curling may be a unique sport but men with brooms is distinctly ordinary . 
though the opera itself takes place mostly indoors , jacquot seems unsure of how to evoke any sort of naturalism on the set . 
there's no getting around the fact that this is revenge of the nerds revisited -- again . 
the effort is sincere and the results are honest , but the film is so bleak that it's hardly watchable . 
analyze that regurgitates and waters down many of the previous film's successes , with a few new swings thrown in . 
with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout . . . by which time it's impossible to care who wins . 
stinks from start to finish , like a wet burlap sack of gloom . 
to the civilized mind , a movie like ballistic : ecks vs . sever is more of an ordeal than an amusement . 
equlibrium could pass for a thirteen-year-old's book report on the totalitarian themes of 1984 and farenheit 451 . 
the lack of naturalness makes everything seem self-consciously poetic and forced . . . it's a pity that [nelson's] achievement doesn't match his ambition . 
everything is off . 
when seagal appeared in an orange prison jumpsuit , i wanted to stand up in the theater and shout , 'hey , kool-aid ! '
an easy watch , except for the annoying demeanour of its lead character . 
imagine the cleanflicks version of 'love story , ' with ali macgraw's profanities replaced by romance-novel platitudes . 
pc stability notwithstanding , the film suffers from a simplistic narrative and a pat , fairy-tale conclusion . 
forget the misleading title , what's with the unexplained baboon cameo ? 
an odd , haphazard , and inconsequential romantic comedy . 
though her fans will assuredly have their funny bones tickled , others will find their humor-seeking dollars best spent elsewhere . 
pascale bailly's rom-com provides amlie's audrey tautou with another fabuleux destin -- i . e . , a banal spiritual quest . 
a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes . 
watching the chemistry between freeman and judd , however , almost makes this movie worth seeing . almost . 
 . . . a pretentious and ultimately empty examination of a sick and evil woman . 
the country bears has no scenes that will upset or frighten young viewers . unfortunately , there is almost nothing in this flat effort that will amuse or entertain them , either . 
the cumulative effect of watching this 65-minute trifle is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge . before long , you're desperate for the evening to end . 
the characters are never more than sketches . . . which leaves any true emotional connection or identification frustratingly out of reach . 
mattei's underdeveloped effort here is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination . 
only in its final surprising shots does rabbit-proof fence find the authority it's looking for . 
isn't as sharp as the original . . . despite some visual virtues , 'blade ii' just doesn't cut it . 
 . . . plays like a badly edited , 91-minute trailer ( and ) the director can't seem to get a coherent rhythm going . in fact , it doesn't even seem like she tried . 
maybe leblanc thought , " hey , the movie about the baseball-playing monkey was worse . " 
what you expect is just what you get . . . assuming the bar of expectations hasn't been raised above sixth-grade height . 
barry sonnenfeld owes frank the pug big time
the biggest problem with roger avary's uproar against the mpaa is that , even in all its director's cut glory , he's made a film that's barely shocking , barely interesting and most of all , barely anything . 
so riddled with unanswered questions that it requires gargantuan leaps of faith just to watch it plod along . 
i approached the usher and said that if she had to sit through it again , she should ask for a raise . 
earnest but heavy-handed . 
if sinise's character had a brain his ordeal would be over in five minutes but instead the plot goes out of its way to introduce obstacles for him to stumble over . 
too slow for a younger crowd , too shallow for an older one . 
there's a reason the studio didn't offer an advance screening . " the adventures of pluto nash " is a big time stinker . 
a punch line without a premise , a joke built entirely from musty memories of half-dimensional characters . 
takes one character we don't like and another we don't believe , and puts them into a battle of wills that is impossible to care about and isn't very funny . 
the things this movie tries to get the audience to buy just won't fly with most intelligent viewers . 
even if the enticing prospect of a lot of nubile young actors in a film about campus depravity didn't fade amid the deliberate , tiresome ugliness , it would be rendered tedious by avary's failure to construct a story with even a trace of dramatic interest . 
sitting through the last reel ( spoiler alert ! ) is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house . 
confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation is the last thing any of these three actresses , nor their characters , deserve . 
deadly dull , pointless meditation on losers in a gone-to-seed hotel . 
with this new rollerball , sense and sensibility have been overrun by what can only be characterized as robotic sentiment . 
one can only assume that the jury who bestowed star hoffman's brother gordy with the waldo salt screenwriting award at 2002's sundance festival were honoring an attempt to do something different over actually pulling it off
a movie more to be prescribed than recommended -- as visually bland as a dentist's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms . 
sex ironically has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler . but never mind all that ; the boobs are fantasti
the script covers huge , heavy topics in a bland , surfacey way that doesn't offer any insight into why , for instance , good things happen to bad people . 
a portrait of alienation so perfect , it will certainly succeed in alienating most viewers . 
the code talkers deserved better than a hollow tribute . 
skip the film and buy the philip glass soundtrack cd . 
feels like a cold old man going through the motions . 
dignified ceo's meet at a rustic retreat and pee against a tree . can you bear the laughter ? 
dull and mechanical , kinda like a very goofy museum exhibit
there's no point of view , no contemporary interpretation of joan's prefeminist plight , so we're left thinking the only reason to make the movie is because present standards allow for plenty of nudity . 
beware the quirky brit-com . they can and will turn on a dime from oddly humorous to tediously sentimental . 
has its moments -- and almost as many subplots . 
the gags , and the script , are a mixed bag . 
completely awful iranian drama . . . as much fun as a grouchy ayatollah in a cold mosque . 
narratively , trouble every day is a plodding mess . 
there's no point in extracting the bare bones of byatt's plot for purposes of bland hollywood romance . 
directors john musker and ron clements , the team behind the little mermaid , have produced sparkling retina candy , but they aren't able to muster a lot of emotional resonance in the cold vacuum of space . 
adam sandler's heart may be in the right place , but he needs to pull his head out of his butt
there's no doubting that this is a highly ambitious and personal project for egoyan , but it's also one that , next to his best work , feels clumsy and convoluted . 
despite engaging offbeat touches , knockaround guys rarely seems interested in kicking around a raison d'etre that's as fresh-faced as its young-guns cast . 
it's all pretty tame . the most offensive thing about the movie is that hollywood expects people to pay to see it . 
the movie is a mess from start to finish . 
the trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than , as was more likely , a victim of mental illness . 
i'm not saying that ice age doesn't have some fairly pretty pictures , but there's not enough substance in the story to actually give them life . 
in the telling of a story largely untold , bui chooses to produce something that is ultimately suspiciously familiar . 
the plot is nothing but boilerplate clichs from start to finish , and the script assumes that not only would subtlety be lost on the target audience , but that it's also too stupid to realize that they've already seen this exact same movie a hundred times
terminally brain dead production . 
some episodes work , some don't . 
beautifully filmed and well acted . . . but admittedly problematic in its narrative specifics . 
j . lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she's a pretty woman , but she's no working girl . 
rymer doesn't trust laughs -- and doesn't conjure proper respect for followers of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects . 
not only are the film's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this 'we're -doing-it-for -the-cash' sequel were . 
wow . i have not been this disappointed by a movie in a long time . 
off the hook is overlong and not well-acted , but credit writer-producer-director adam watstein with finishing it at all . 
it's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding . 
watching harris ham it up while physically and emotionally disintegrating over the course of the movie has a certain poignancy in light of his recent death , but boyd's film offers little else of consequence . 
it's also curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget . 
'ejemplo de una cinta en que no importa el talento de su reparto o lo interesante que pudo haber resultado su premisa , pues el resultado es francamente aburrido y , por momentos , deplorable . '
will probably be one of those movies barely registering a blip on the radar screen of 2002 . 
the problem is not that it's all derivative , because plenty of funny movies recycle old tropes . the problem is that van wilder does little that is actually funny with the material . 
there's nothing interesting in unfaithful whatsoever . 
none of this is half as moving as the filmmakers seem to think . 
a processed comedy chop suey . 
as spent screen series go , star trek : nemesis is even more suggestive of a 65th class reunion mixer where only eight surviving members show up -- and there's nothing to drink . 
fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix . 
full of the kind of obnoxious chitchat that only self-aware neurotics engage in . 
an erotic thriller that's neither too erotic nor very thrilling , either . 
the movie , like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes . 
with its parade of almost perpetually wasted characters . . . margarita feels like a hazy high that takes too long to shake . 
if you value your time and money , find an escape clause and avoid seeing this trite , predictable rehash . 
the director and her capable cast appear to be caught in a heady whirl of new age-inspired good intentions , but the spell they cast isn't the least bit mesmerizing . 
everything is pegged into the groove of a new york dating comedy with 'issues' to simplify . 
a dramatic comedy as pleasantly dishonest and pat as any hollywood fluff . 
the cameo-packed , m : i-2-spoofing title sequence is the funniest 5 minutes to date in this spy comedy franchise . . . then mike myers shows up and ruins everything . 
it comes off as so silly that you wouldn't be surprised if ba , murdock and rest of the a-team were seen giving chase in a black and red van . 
the 50-something lovebirds are too immature and unappealing to care about . 
so genial is the conceit , this is one of those rare pictures that you root for throughout , dearly hoping that the rich promise of the script will be realized on the screen . it never is , not fully . 
even in the summertime , the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities . 
what with all the blanket statements and dime-store ruminations on vanity , the worries of the rich and sudden wisdom , the film becomes a sermon for most of its running time . 
one lousy movie . 
as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film's creepy , clean-cut dahmer ( jeremy renner ) and fiendish acts that no amount of earnest textbook psychologizing can bridge . 
plodding , peevish and gimmicky . 
the four feathers is definitely horse feathers , but if you go in knowing that , you might have fun in this cinematic sandbox . 
oozes condescension from every pore . 
solaris " is a shapeless inconsequential move relying on the viewer to do most of the work . 
the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism . 
 . . . hypnotically dull . 
though this saga would be terrific to read about , it is dicey screen material that only a genius should touch . 
it has plenty of laughs . it just doesn't have much else . . . especially in a moral sense . 
an awful lot like one of [spears'] music videos in content -- except that it goes on for at least 90 more minutes and , worse , that you have to pay if you want to see it . 
confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it . 
[h]ad i suffered and bled on the hard ground of ia drang , i'd want something a bit more complex than we were soldiers to be remembered by . 
occasionally loud and offensive , but more often , it simply lulls you into a gentle waking coma . 
it may play well as a double feature with mainstream foreign mush like my big fat greek wedding
by the time you reach the finale , you're likely wondering why you've been watching all this strutting and posturing . 
journalistically dubious , inept and often lethally dull . 
putting the primitive murderer inside a high-tech space station unleashes a pandora's box of special effects that run the gamut from cheesy to cheesier to cheesiest . 
 at its best , it's black hawk down with more heart . at its worst , it's rambo- meets-john ford . 
exactly what you'd expect from a guy named kaos . 
calculated swill . 
this movie . . . doesn't deserve the energy it takes to describe how bad it is . 
with or without ballast tanks , k-19 sinks to a harrison ford low . 
director oliver parker labors so hard to whip life into the importance of being earnest that he probably pulled a muscle or two . 
you might be shocked to discover that seinfeld's real life is boring . 
it's not nearly as fresh or enjoyable as its predecessor , but there are enough high points to keep this from being a complete waste of time . 
walsh can't quite negotiate the many inconsistencies in janice's behavior or compensate for them by sheer force of charm . 
this 10th film in the series looks and feels tired . 
it leers , offering next to little insight into its intriguing subject . 
i found myself growing more and more frustrated and detached as vincent became more and more abhorrent . 
one of the oddest and most inexplicable sequels in movie history . 
there's nothing to gain from watching they . it isn't scary . it hates its characters . it finds no way to entertain or inspire its viewers . 
fear permeates the whole of stortelling , todd solondz' oftentimes funny , yet ultimately cowardly autocritique . 
the skirmishes for power waged among victims and predators settle into an undistinguished rhythm of artificial suspense . 
thoroughly awful . 
 . . . ice age treads predictably along familiar territory , making it a passable family film that won't win many fans over the age of 12 . 
though the film is well-intentioned , one could rent the original and get the same love story and parable . 
just too silly and sophomoric to ensnare its target audience . 
the video work is so grainy and rough , so dependent on being 'naturalistic' rather than carefully lit and set up , that it's exhausting to watch . 
truly terrible . 
a cleverly crafted but ultimately hollow mockumentary . 
it gets bogged down by hit-and-miss topical humour before getting to the truly good stuff . 
an achingly enthralling premise , the film is hindered by uneven dialogue and plot lapses . 
it's tommy's job to clean the peep booths surrounding her , and after viewing this one , you'll feel like mopping up , too . 
rifkin no doubt fancies himself something of a hubert selby jr . , but there isn't an ounce of honest poetry in his entire script ; it's simply crude and unrelentingly exploitative . 
fluffy and disposible . 
such a bad movie that its luckiest viewers will be seated next to one of those ignorant pinheads who talk throughout the show . 
if you go into the theater expecting a scary , action-packed chiller , you might soon be looking for a sign . an exit sign , that is . 
holds limited appeal to those who like explosions , sadism and seeing people beat each other to a pulp . 
the dialogue is very choppy and monosyllabic despite the fact that it is being dubbed . 
a feature-length , r-rated , road-trip version of mama's family . 
what you end up getting is the vertical limit of surfing movies - memorable stunts with lots of downtime in between . 
stealing harvard doesn't care about cleverness , wit or any other kind of intelligent humor . 
bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly . 
there's undeniable enjoyment to be had from films crammed with movie references , but the fun wears thin -- then out -- when there's nothing else happening . 
imagine kevin smith , the blasphemous bad boy of suburban jersey , if he were stripped of most of his budget and all of his sense of humor . the result might look like vulgar . 
suffers from a lack of clarity and audacity that a subject as monstrous and pathetic as dahmer demands . 
what soured me on the santa clause 2 was that santa bumps up against 21st century reality so hard , it's icky . 
it's an 88-minute highlight reel that's 86 minutes too long . 
the film favors the scientific over the spectacular ( visually speaking ) . 
such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema . 
with the exception of mccoist , the players don't have a clue on the park . the acting isn't much better . 
the whole affair is as predictable as can be . 
a not-so-divine secrets of the ya-ya sisterhood with a hefty helping of re-fried green tomatoes . 
this cloying , voices-from-the-other-side story is hell . 
a suffocating rape-payback horror show that hinges on the subgenre's most enabling victim . . . and an ebullient affection for industrial-model meat freezers . 
star trek was kind of terrific once , but now it is a copy of a copy of a copy . 
[n]o matter how much good will the actors generate , showtime eventually folds under its own thinness . 
every potential twist is telegraphed well in advance , every performance respectably muted ; the movie itself seems to have been made under the influence of rohypnol . 
puts on airs of a hal hartley wannabe film -- without the vital comic ingredient of the hilarious writer-director himself . 
ver wiel's desperate attempt at wit is lost , leaving the character of critical jim two-dimensional and pointless . 
despite a performance of sustained intelligence from stanford and another of subtle humour from bebe neuwirth , as an older woman who seduces oscar , the film founders on its lack of empathy for the social milieu - rich new york intelligentsia - and its off
although disney follows its standard formula in this animated adventure , it feels more forced than usual . 
gaghan . . . has thrown every suspenseful clich in the book at this nonsensical story . 
a sham construct based on theory , sleight-of-hand , and ill-wrought hypothesis . 
[p]artnering murphy with robert de niro for the tv-cops comedy showtime would seem to be surefire casting . the catch is that they're stuck with a script that prevents them from firing on all cylinders . 
'you'll laugh for not quite and hour and a half , but come out feeling strangely unsatisfied . you'll feel like you ate a reeses without the peanut butter . . . '
gooding offers a desperately ingratiating performance . 
parker should be commended for taking a fresh approach to familiar material , but his determination to remain true to the original text leads him to adopt a somewhat mannered tone . . . that ultimately dulls the human tragedy at the story's core . 
the director has injected self-consciousness into the proceedings at every turn . the results are far more alienating than involving . 
bogdanich is unashamedly pro-serbian and makes little attempt to give voice to the other side . 
a lack of thesis makes maryam , in the end , play out with the intellectual and emotional impact of an after-school special . 
the worst film of the year . 
by-the-numbers yarn . 
without shakespeare's eloquent language , the update is dreary and sluggish . 
if h . g . wells had a time machine and could take a look at his kin's reworked version , what would he say ? 'it looks good , sonny , but you missed the point . '
during the tuxedo's 90 minutes of screen time , there isn't one true 'chan moment' . 
bisset delivers a game performance , but she is unable to save the movie . 
watching austin powers in goldmember is like binging on cotton candy . it's sweet and fluffy at the time , but it may leave you feeling a little sticky and unsatisfied . 
the most anti-human big studio picture since 3000 miles to graceland . 
the film can depress you about life itself . 
i'm sure the filmmakers found this a remarkable and novel concept , but anybody who has ever seen an independent film can report that it is instead a cheap clich . 
the acting is fine but the script is about as interesting as a recording of conversations at the wal-mart checkout line . 
its weighty themes are too grave for youngsters , but the story is too steeped in fairy tales and other childish things to appeal much to teenagers . 
the plot plummets into a comedy graveyard before janice comes racing to the rescue in the final reel . 
sometimes there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely . 
at 90 minutes this movie is short , but it feels much longer . 
here's my advice , kev . start reading your scripts before signing that dotted line . 
an alternately raucous and sappy ethnic sitcom . . . you'd be wise to send your regrets . 
an ugly-duckling tale so hideously and clumsily told it feels accidental . 
unfortunately , it's also not very good . especially compared with the television series that inspired the movie . 
it wraps up a classic mother/daughter struggle in recycled paper with a shiny new bow and while the audience can tell it's not all new , at least it looks pretty . 
glazed with a tawdry b-movie scum . 
this is the kind of movie during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness . 
it winds up moving in many directions as it searches ( vainly , i think ) for something fresh to say . 
all in all , road to perdition is more in love with strangeness than excellence . 
a big fat pain . 
a mimetic approximation of better films like contempt and 8 1/2 . 
unintelligible , poorly acted , brain-slappingly bad , harvard man is ludicrous enough that it could become a cult classic . 
watching the powerpuff girls movie , my mind kept returning to one anecdote for comparison : the cartoon in japan that gave people seizures . 
aan opportunity wasted . 
an inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength . 
to build a feel-good fantasy around a vain dictator-madman is off-putting , to say the least , not to mention inappropriate and wildly undeserved . 
with the cheesiest monsters this side of a horror spoof , which they isn't , it is more likely to induce sleep than fright . 
mild , meandering teen flick . 
though its atmosphere is intriguing . . . the drama is finally too predictable to leave much of an impression . 
though this rude and crude film does deliver a few gut-busting laughs , its digs at modern society are all things we've seen before . 
although it tries to be much more , it's really just another major league . 
astonishing isn't the word -- neither is incompetent , incoherent or just plain crap . indeed , none of these words really gets at the very special type of badness that is deuces wild . 
one thing is for sure : this movie does not tell you a whole lot about lily chou-chou . 
with a tone as variable as the cinematography , schaeffer's film never settles into the light-footed enchantment the material needs , and the characters' quirks and foibles never jell into charm . 
to better understand why this didn't connect with me would require another viewing , and i won't be sitting through this one again . . . that in itself is commentary enough . 
cuba gooding jr . valiantly mugs his way through snow dogs , but even his boisterous energy fails to spark this leaden comedy . 
diane lane's sophisticated performance can't rescue adrian lyne's unfaithful from its sleazy moralizing . 
not at all clear what it's trying to say and even if it were  i doubt it would be all that interesting . 
storytelling feels slight . 
[swimfan] falls victim to sloppy plotting , an insultingly unbelievable final act and a villainess who is too crazy to be interesting . 
this remake of lina wertmuller's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john and bo derek made the ridiculous bolero . 
silly , loud and goofy . 
why spend $9 on the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby ? 
the french director has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing . 
the basic premise is intriguing but quickly becomes distasteful and downright creepy . 
the pool drowned me in boredom . 
it's like an all-star salute to disney's cheesy commercialism . 
it's hard to imagine any recent film , independent or otherwise , that makes as much of a mess as this one . 
some of the computer animation is handsome , and various amusing sidekicks add much-needed levity to the otherwise bleak tale , but overall the film never rises above mediocrity . 
there's an excellent 90-minute film here ; unfortunately , it runs for 170 . 
as saccharine movies go , this is likely to cause massive cardiac arrest if taken in large doses . 
die another day is only intermittently entertaining but it's hard not to be a sucker for its charms , or perhaps it's just impossible not to feel nostalgia for movies you grew up with . 
as is often the case with ambitious , eager first-time filmmakers , mr . murray , a prolific director of music videos , stuffs his debut with more plot than it can comfortably hold . 
the mystery of enigma is how a rich historical subject , combined with so much first-rate talent . . . could have yielded such a flat , plodding picture . 
it throws quirky characters , odd situations , and off-kilter dialogue at us , all as if to say , " look at this ! this is an interesting movie ! " but the film itself is ultimately quite unengaging . 
the inherent limitations of using a video game as the source material movie are once again made all too clear in this schlocky horror/action hybrid . 
bad company . bad movie . just plain bad . 
it's not only dull because we've seen [eddie] murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed . 
avary's film never quite emerges from the shadow of ellis' book . 
a poorly scripted , preachy fable that forgets about unfolding a coherent , believable story in its zeal to spread propaganda . 
while it is interesting to witness the conflict from the palestinian side , longley's film lacks balance . . . and fails to put the struggle into meaningful historical context . 
woo has as much right to make a huge action sequence as any director , but how long will filmmakers copy the " saving private ryan " battle scenes before realizing steven spielberg got it right the first time ? 
it's sincere to a fault , but , unfortunately , not very compelling or much fun . 
 . . . jones , despite a definitely distinctive screen presence , just isn't able to muster for a movie that , its title notwithstanding , should have been a lot nastier if it wanted to fully capitalize on its lead's specific gifts . 
this follow-up seems so similar to the 1953 disney classic that it makes one long for a geriatric peter . 
why , you may ask , why should you buy the movie milk when the tv cow is free ? there's no good answer to that one . 
this slow-moving swedish film offers not even a hint of joy , preferring to focus on the humiliation of martin as he defecates in bed and urinates on the plants at his own birthday party . 
a muddled limp biscuit of a movie , a vampire soap opera that doesn't make much sense even on its own terms . 
there's the plot , and a maddeningly insistent and repetitive piano score that made me want to scream . 
this is a movie so insecure about its capacity to excite that it churns up not one but two flagrantly fake thunderstorms to underscore the action . 
this is amusing for about three minutes . 
klein , charming in comedies like american pie and dead-on in election , delivers one of the saddest action hero performances ever witnessed . 
it's rare to see a movie that takes such a speedy swan dive from " promising " to " interesting " to " familiar " before landing squarely on " stupid " . 
this is the sort of low-grade dreck that usually goes straight to video --with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes . 
the direction occasionally rises to the level of marginal competence , but for most of the film it is hard to tell who is chasing who or why . 
there are few things more frustrating to a film buff than seeing an otherwise good movie marred beyond redemption by a disastrous ending . 
it won't harm anyone , but neither can i think of a very good reason to rush right out and see it . after all , it'll probably be in video stores by christmas , and it might just be better suited to a night in the living room than a night at the movies . 
looks more like a travel-agency video targeted at people who like to ride bikes topless and roll in the mud than a worthwhile glimpse of independent-community guiding lights . 
given too much time to consider the looseness of the piece , the picture begins to resemble the shapeless , grasping actors' workshop that it is . 
they kept much of the plot but jettisoned the stuff that would make this a moving experience for people who haven't read the book . 
just because a walk to remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls . 
[carvey's] characters are both overplayed and exaggerated , but then again , subtlety has never been his trademark . 
it's mildly interesting to ponder the peculiar american style of justice that plays out here , but it's so muddled and derivative that few will bother thinking it all through . 
this dreadfully earnest inversion of the concubine love triangle eschews the previous film's historical panorama and roiling pathos for bug-eyed mugging and gay-niche condescension . 
brown's saga , like many before his , makes for snappy prose but a stumblebum of a movie . 
the boys' sparring , like the succession of blows dumped on guei , wears down the story's more cerebral , and likable , plot elements . 
the script by vincent r . nebrida . . . tries to cram too many ingredients into one small pot . 
the story is so light and sugary that were it a macy's thanksgiving day parade balloon , extra heavy-duty ropes would be needed to keep it from floating away . 
oedekerk mugs mercilessly , and the genuinely funny jokes are few and far between . 
since dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer , it misses a major opportunity to be truly revelatory about his psyche . 
only those most addicted to film violence in all its forms will find anything here to appreciate . 
cold and scattered , minority report commands interest almost solely as an exercise in gorgeous visuals . that's not vintage spielberg and that , finally , is minimally satisfying . 
every now and again , a movie comes along to remind us of how very bad a motion picture can truly be . frank mcklusky c . i . is that movie ! 
it's not difficult to spot the culprit early-on in this predictable thriller . 
[a] soulless , stupid sequel . . . 
 . . . a mostly boring affair with a confusing sudden finale that's likely to irk viewers . 
the trappings of i spy are so familiar you might as well be watching a rerun . 
what starts off as a potentially incredibly twisting mystery becomes simply a monster chase film . 
in the wake of saving private ryan , black hawk down and we were soldiers , you are likely to be as heartily sick of mayhem as cage's war-weary marine . 
it is messy , uncouth , incomprehensible , vicious and absurd . 
really does feel like a short stretched out to feature length . 
hampered -- no , paralyzed -- by a self-indulgent script . . . that aims for poetry and ends up sounding like satire . 
cheap , vulgar dialogue and a plot that crawls along at a snail's pace . 
and if you appreciate the one-sided theme to lawrence's over-indulgent tirade , then knock yourself out and enjoy the big screen postcard that is a self-glorified martin lawrence lovefest . if you are willing to do this , then you so crazy ! 
directed without the expected flair or imagination by hong kong master john woo , windtalkers airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length . 
it's a very tasteful rock and roll movie . you could put it on a coffee table anywhere . 
the movie is loaded with good intentions , but in his zeal to squeeze the action and our emotions into the all-too-familiar dramatic arc of the holocaust escape story , minac drains his movie of all individuality . 
an infuriating film . just when you think you are making sense of it , something happens that tells you there is no sense . 
the entire movie is so formulaic and forgettable that it's hardly over before it begins to fade from memory . 
the setting turns out to be more interesting than any of the character dramas , which never reach satisfying conclusions . 
as an entertainment destination for the general public , kung pow sets a new benchmark for lameness . 
this misty-eyed southern nostalgia piece , in treading the line between sappy and sanguine , winds up mired in tear-drenched quicksand . 
as pure over-the-top trash , any john waters movie has it beat by a country mile . 
wendigo wants to be a monster movie for the art-house crowd , but it falls into the trap of pretention almost every time . 
bigelow offers some flashy twists and turns that occasionally fortify this turgid fable . but for the most part , the weight of water comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness . 
this film biggest problem ? no laughs . 
less-than-compelling documentary of a yiddish theater clan . 
that the chuck norris " grenade gag " occurs about 7 times during windtalkers is a good indication of how serious-minded the film is . 
viewers are asked so often to suspend belief that were it not for holm's performance , the film would be a total washout . 
it's not exactly worth the bucks to expend the full price for a date , but when it comes out on video , it's well worth a rental . 
i can't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents . . . 
everybody loves a david and goliath story , and this one is told almost entirely from david's point of view . 
throw smoochy from the train ! 
eventually , they will have a showdown , but , by then , your senses are as mushy as peas and you don't care who fires the winning shot . 
irwin and his director never come up with an adequate reason why we should pay money for what we can get on television for free . 
a light , engaging comedy that fumbles away almost all of its accumulated enjoyment with a crucial third act miscalculation . 
cedar somewhat defuses this provocative theme by submerging it in a hoary love triangle . 
to paraphrase a line from another dickens' novel , nicholas nickleby is too much like a fragment of an underdone potato . 
the actresses may have worked up a back story for the women they portray so convincingly , but viewers don't get enough of that background for the characters to be involving as individuals rather than types . 
the result , however well-intentioned , is ironically just the sort of disposable , kitchen-sink homage that illustrates why the whole is so often less than the sum of its parts in today's hollywood . 
an extremely unpleasant film . 
a movie just for friday fans , critics be damned . if you already like this sort of thing , this is that sort of thing all over again . 
a sincere but dramatically conflicted gay coming-of-age tale . 
wait for it to hit cable . 
ultimately feels like just one more in the long line of films this year about the business of making movies . 
a high-minded snoozer . 
nothing but one relentlessly depressing situation after another for its entire running time , something that you could easily be dealing with right now in your lives . 
77 minutes of pokemon may not last 4ever , it just seems like it does . my only wish is that celebi could take me back to a time before i saw this movie and i could just skip it . 
the one not-so-small problem with expecting is that the entire exercise has no real point . 
a movie you observe , rather than one you enter into . 
[at least] moore is a real charmer . 
john carlen's script is full of unhappy , two-dimensional characters who are anything but compelling . 
labute can't avoid a fatal mistake in the modern era : he's changed the male academic from a lower-class brit to an american , a choice that upsets the novel's exquisite balance and shreds the fabric of the film . 
the notion of deleting emotion from people , even in an advanced prozac nation , is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus . 
stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes . 
unsurprisingly , the way this all works out makes the women look more like stereotypical caretakers and moral teachers , instead of serious athletes . 
a film that loses sight of its own story . 
adam sandler's eight crazy nights grows on you -- like a rash . 
the big-screen scooby makes the silly original cartoon seem smart and well-crafted in comparison . 
few of the increasingly far-fetched events that first-time writer-director neil burger follows up with are terribly convincing , which is a pity , considering barry's terrific performance . 
gets better after foster leaves that little room . 
the movie is as padded as allen's jelly belly . 
resident evil isn't a product of its cinematic predecessors so much as an mtv , sugar hysteria , and playstation cocktail . 
a rather average action film that benefits from several funny moments supplied by epps . 
 . . . unspeakably , unbearably dull , featuring reams of flatly delivered dialogue and a heroine who comes across as both shallow and dim-witted . 
resembles a soft porn brian de palma pastiche . 
bluto blutarsky , we miss you . 
innocuous enough to make even jean-claude van damme look good . 
it's a glorified sitcom , and a long , unfunny one at that . 
woody allen can write and deliver a one liner as well as anybody . but i had a lot of problems with this movie . 
execrable . 
devoid of any of the qualities that made the first film so special . 
all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast . 
plotless collection of moronic stunts is by far the worst movie of the year . 
however sincere it may be , the rising place never quite justifies its own existence . 
parker updates the setting in an attempt to make the film relevant today , without fully understanding what it was that made the story relevant in the first place . 
it's sort of a 21st century morality play with a latino hip hop beat . but the second half of the movie really goes downhill . 
paxton's uneven directorial debut fails to unlock the full potential of what is in many ways a fresh and dramatically substantial spin on the genre . 
the script becomes lifeless and falls apart like a cheap lawn chair . 
the script falls back on too many tried-and-true shenanigans that hardly distinguish it from the next teen comedy . 
the film starts promisingly , but the ending is all too predictable and far too cliched to really work . 
let's issue a moratorium , effective immediately , on treacly films about inspirational prep-school professors and the children they so heartwarmingly motivate . 
it's the element of condescension , as the filmmakers look down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which opens today in the new york metropolitan area , so distasteful . 
alternately frustrating and rewarding . 
it's impossible to even categorize this as a smutty guilty pleasure . 
despite suffering a sense-of-humour failure , the man who wrote rocky does not deserve to go down with a ship as leaky as this . 
swinging , the film makes it seem , is not a hobby that attracts the young and fit . or intelligent . 
the most memorable moment was when green threw medical equipment at a window ; not because it was particularly funny , but because i had a serious urge to grab the old lady at the end of my aisle's walker and toss it at the screen in frustration . 
see clockstoppers if you have nothing better to do with 94 minutes . but be warned , you too may feel time has decided to stand still . or that the battery on your watch has died . 
suffers from over-familiarity since hit-hungry british filmmakers have strip-mined the monty formula mercilessly since 1997 . 
there are enough throwaway references to faith and rainbows to plant smile-button faces on that segment of the populace that made a walk to remember a niche hit . 
yes , i have given this movie a rating of zero . but fans of the show should not consider this a diss . consider it 'perfection . '
the cumulative effect of the movie is repulsive and depressing . 
children and adults enamored of all things pokemon won't be disappointed . 
i don't even care that there's no plot in this antonio banderas-lucy liu faceoff . it's still terrible ! 
children of the century , though well dressed and well made , ultimately falls prey to the contradiction that afflicts so many movies about writers . 
it's not so much a movie as a joint promotion for the national basketball association and teenaged rap and adolescent poster-boy lil' bow wow . 
peralta's mythmaking could have used some informed , adult hindsight . 
amazingly dopey . 
a close-to-solid espionage thriller with the misfortune of being released a few decades too late . 
cloaks a familiar anti-feminist equation ( career - kids = misery ) in tiresome romantic-comedy duds . 
the good girl is a film in which the talent is undeniable but the results are underwhelming . 
just a collection of this and that -- whatever fills time -- with no unified whole . 
the animation and game phenomenon that peaked about three years ago is actually dying a slow death , if the poor quality of pokemon 4 ever is any indication . 
only about as sexy and dangerous as an actress in a role that reminds at every turn of elizabeth berkley's flopping dolphin-gasm . 
kids who are into this thornberry stuff will probably be in wedgie heaven . anyone else who may , for whatever reason , be thinking about going to see this movie is hereby given fair warning . 
mr . soderbergh's direction and visual style struck me as unusually and unimpressively fussy and pretentious . 
do you say " hi " to your lover when you wake up in the morning ? 
it makes me feel weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens
director tom dey demonstrated a knack for mixing action and idiosyncratic humor in his charming 2000 debut shanghai noon , but showtime's uninspired send-up of tv cop show cliches mostly leaves him shooting blanks . 
banal and predictable . 
'yes , that's right : it's forrest gump , angel of death . '
a wildly erratic drama with sequences that make you wince in embarrassment and others , thanks to the actors , that are quite touching . 
while easier to sit through than most of jaglom's self-conscious and gratingly irritating films , it's still tainted by cliches , painful improbability and murky points . 
about as enjoyable , i would imagine , as searching for a quarter in a giant pile of elephant feces . . . positively dreadful . 
a generic international version of a typical american horror film . 
 . . . while certainly clever in spots , this too-long , spoofy update of shakespeare's macbeth doesn't sustain a high enough level of invention . 
crikey indeed . 
lucas has in fact come closer than anyone could desire to the cheap , graceless , hackneyed sci-fi serials of the '30s and '40s . 
there's a lot of good material here , but there's also a lot of redundancy and unsuccessful crudeness accompanying it . 
absurdities and clichs accumulate like lint in a fat man's navel . 
if you think it's a riot to see rob schneider in a young woman's clothes , then you'll enjoy the hot chick . 
the sheer dumbness of the plot ( other than its one good idea ) and the movie's inescapable air of sleaziness get you down . 
strangely comes off as a kingdom more mild than wild . 
the next big thing's not-so-big ( and not-so-hot ) directorial debut . 
yet another iteration of what's become one of the movies' creepiest conventions , in which the developmentally disabled are portrayed with almost supernatural powers to humble , teach and ultimately redeem their mentally " superior " friends , family . . . 
bond-inspired ? certainly . likely to have decades of life as a classic movie franchise ? let's hope not . 
this flat run at a hip-hop tootsie is so poorly paced you could fit all of pootie tang in between its punchlines . 
davis has energy , but she doesn't bother to make her heroine's book sound convincing , the gender-war ideas original , or the comic scenes fly . 
surprisingly , considering that baird is a former film editor , the movie is rather choppy . 
none of this is very original , and it isn't particularly funny . 
 . . . a bland murder-on-campus yawner . 
a humorless journey into a philosophical void . 
these two are generating about as much chemistry as an iraqi factory poised to receive a un inspector . 
responsvel direto pelo fracasso 'artstico' de doce lar , o roteirista c . jay cox no consegue sequer aproveitar os pouqussimos momentos em que escapa da mediocridade . 
just as the lousy tarantino imitations have subsided , here comes the first lousy guy ritchie imitation . 
a passable romantic comedy , in need of another couple of passes through the word processor . 
the movie attempts to mine laughs from a genre -- the gangster/crime comedy -- that wore out its welcome with audiences several years ago , and its cutesy reliance on movie-specific cliches isn't exactly endearing . 
shows holmes has the screen presence to become a major-league leading lady , ( but ) the movie itself is an underachiever , a psychological mystery that takes its sweet time building to a climax that's scarcely a surprise by the time it arrives . 
in the book-on-tape market , the film of " the kid stays in the picture " would be an abridged edition
ultimately . . . the movie is too heady for children , and too preachy for adults . 
it's just a little too self-satisfied . 
clever but not especially compelling . 
mckay seems embarrassed by his own invention and tries to rush through the intermediary passages , apparently hoping that the audience will not notice the glaring triteness of the plot device he has put in service . 
a piece of mildly entertaining , inoffensive fluff that drifts aimlessly for 90 minutes before lodging in the cracks of that ever-growing category : unembarrassing but unmemorable . 
labute was more fun when his characters were torturing each other psychologically and talking about their genitals in public . 
the movie weighs no more than a glass of flat champagne . 
brisk hack job . 
the problem with antwone fisher is that it has a screenplay written by antwone fisher based on the book by antwone fisher . 
alarms for duvall's throbbing sincerity and his elderly propensity for patting people while he talks . 
the maudlin way its story unfolds suggests a director fighting against the urge to sensationalize his material . 
what little grace [rifkin's] tale of precarious skid-row dignity achieves is pushed into the margins by predictable plotting and tiresome histrionics . 
tries to work in the same vein as the brilliance of animal house but instead comes closer to the failure of the third revenge of the nerds sequel . 
unfortunately , kapur modernizes a . e . w . mason's story to suit the sensibilities of a young american , a decision that plucks " the four feathers " bare . 
 . . . what a banal bore the preachy circuit turns out to be
falsehoods pile up , undermining the movie's reality and stifling its creator's comic voice . 
a mechanical action-comedy whose seeming purpose is to market the charismatic jackie chan to even younger audiences . 
one of the most incoherent features in recent memory . 
low rent from frame one . 
eight legged freaks ? no big hairy deal . 
the issues are presented in such a lousy way , complete with some of the year's ( unintentionally ) funniest moments , that it's impossible to care . 
laggard drama wending its way to an uninspired philosophical epiphany . 
the respective charms of sandra bullock and hugh grant have worn threadbare . 
'this movie sucks . '
none of this so-called satire has any sting to it , as if woody is afraid of biting the hand that has finally , to some extent , warmed up to him . 
 . . . bibbidy-bobbidi-bland . 
a few nonbelievers may rethink their attitudes when they see the joy the characters take in this creed , but skeptics aren't likely to enter the theater . 
bad in such a bizarre way that it's almost worth seeing , if only to witness the crazy confluence of purpose and taste . 
there's more repetition than creativity throughout the movie . 
hugh grant's act is so consuming that sometimes it's difficult to tell who the other actors in the movie are . 
although the sequel has all the outward elements of the original , the first film's lovely flakiness is gone , replaced by the forced funniness found in the dullest kiddie flicks . 
i've had more interesting -- and , dare i say , thematically complex -- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama . 
what we get . . . is caddyshack crossed with the loyal order of raccoons . 
the jokes are flat , and the action looks fake . 
when a movie asks you to feel sorry for mick jagger's sex life , it already has one strike against it . 
there are now two signs that m . night shyamalan's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs . 
 . . . hokey art house pretension . 
 . . . a weak and ineffective ghost story without a conclusion or pay off . 
gussied up with so many distracting special effects and visual party tricks that it's not clear whether we're supposed to shriek or laugh . 
plodding , poorly written , murky and weakly acted , the picture feels as if everyone making it lost their movie mojo . 
this is a fudged opportunity of gigantic proportions -- a lunar mission with no signs of life . 
a baffling subplot involving smuggling drugs inside danish cows falls flat , and if you're going to alter the bard's ending , you'd better have a good alternative . 
soderbergh seems capable only of delivering artfully lighted , earnest inquiries that lack the kind of genuine depth that would make them redeemable . 
the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film . 
silly stuff , all mixed up together like a term paper from a kid who can't quite distinguish one sci-fi work from another . 
there is so much plodding sensitivity . 
the town has kind of an authentic feel , but each one of these people stand out and everybody else is in the background and it just seems manufactured to me and artificial . 
 . . . too sappy for its own good . 
circuit queens won't learn a thing , they'll be too busy cursing the film's strategically placed white sheets . 
as an actress , madonna is one helluva singer . as the mediterranean sparkles , 'swept away' sinks . 
every so often a film comes along that is so insanely stupid , so awful in so many ways that watching it leaves you giddy . half past dead is just such an achievement . 
expanded to 65 minutes for theatrical release , it still feels somewhat unfinished . 
it all looks and plays like a $40 million version of a game you're more likely to enjoy on a computer . 
[javier bardem is] one of the few reasons to watch the film , which director gerardo vera has drenched in swoony music and fever-pitched melodrama . 
feels shrill , simple and soapy . 
adults , other than the parents . . . will be hard pressed to succumb to the call of the wild . 
brady achieves the remarkable feat of squandering a topnotch foursome of actors . . . by shoving them into every clichd white-trash situation imaginable . 
in the name of an allegedly inspiring and easily marketable flick , the emperor's club turns a blind eye to the very history it pretends to teach . 
no amount of blood and disintegrating vampire cadavers can obscure this movie's lack of ideas . 
a direct-to-void release , heading nowhere . 
typical anim , with cheapo animation ( like saturday morning tv in the '60s ) , a complex sword-and-sorcery plot and characters who all have big round eyes and japanese names . 
below is well below expectations . 
at no point during k-19 : the widowmaker did this viewer feel enveloped in a story that , though meant to be universal in its themes of loyalty , courage and dedication to a common goal , never seems to leave the lot . 
 . . . standard guns versus martial arts cliche with little new added . 
empire can't make up its mind whether it wants to be a gangster flick or an art film . it doesn't work as either . 
given the fact that virtually no one is bound to show up at theatres for it , the project should have been made for the tube . 
possession is in the end an honorable , interesting failure . it falls far short of poetry , but it's not bad prose . 
jonathan parker's bartleby should have been the be-all-end-all of the modern-office anomie films . 
there may have been a good film in " trouble every day , " but it is not what is on the screen . 
unfortunately , carvey's rubber-face routine is no match for the insipid script he has crafted with harris goldberg . 
viewed as a comedy , a romance , a fairy tale , or a drama , there's nothing remotely triumphant about this motion picture . 
there's something unintentionally comic in the film's drumbeat about authenticity , given the stale plot and pornographic way the film revels in swank apartments , clothes and parties . 
the master of disguise is funny--not " ha ha " funny , " dead circus performer " funny . and for all the wrong reasons besides . 
a zippy 96 minutes of mediocre special effects , hoary dialogue , fluxing accents , and -- worst of all -- silly-looking morlocks . 
a 75-minute sample of puerile rubbish that is listless , witless , and devoid of anything resembling humor . 
you leave feeling like you've endured a long workout without your pulse ever racing . 
the waterlogged script plumbs uncharted depths of stupidity , incoherence and sub-sophomoric sexual banter . 
with mcconaughey in an entirely irony-free zone and bale reduced mainly to batting his sensitive eyelids , there's not enough intelligence , wit or innovation on the screen to attract and sustain an older crowd . 
it's the type of stunt the academy loves : a powerful political message stuffed into an otherwise mediocre film . 
in theory , a middle-aged romance pairing clayburgh and tambor sounds promising , but in practice it's something else altogether -- clownish and offensive and nothing at all like real life . 
so mind-numbingly awful that you hope britney won't do it one more time , as far as movies are concerned . 
the images are usually abbreviated in favor of mushy obviousness and telegraphed pathos , particularly where whitaker's misfit artist is concerned . 
if welles was unhappy at the prospect of the human race splitting in two , he probably wouldn't be too crazy with his great-grandson's movie splitting up in pretty much the same way . 
sets animation back 30 years , musicals back 40 years and judaism back at least 50 . 
weirdly , broomfield has compelling new material but he doesn't unveil it until the end , after endless scenes of him wheedling reluctant witnesses and pointing his camera through the smeared windshield of his rental car . 
might best be enjoyed as a daytime soaper . 
eventually arrives at its heart , as simple self-reflection meditation . 
a showcase for both the scenic splendor of the mountains and for legendary actor michel serrault , the film is less successful on other levels . 
boy oh boy , it's a howler . 
a few pieces of the film buzz and whir ; very little of it actually clicks . the thing just never gets off the ground . 
 . . . contains very few laughs and even less surprises . 
the actors must indeed be good to recite some of this laughable dialogue with a straight face . 
most of the storylines feel like time fillers between surf shots . the movie isn't horrible , but you can see mediocre cresting on the next wave . 
however stale the material , lawrence's delivery remains perfect ; his great gift is that he can actually trick you into thinking some of this worn-out , pandering palaver is actually funny . 
there's nothing remotely topical or sexy here . 
the tuxedo wasn't just bad ; it was , as my friend david cross would call it , 'hungry-man portions of bad' . 
blue crush is so prolonged and boring it isn't even close to being the barn-burningly bad movie it promised it would be . 
the sequel plays out like a flimsy excuse to give blade fans another look at wesley snipes' iconic hero doing battle with dozens of bad guys -- at once . 
while van wilder may not be the worst national lampoon film , it's far from being this generation's animal house . 
so devoid of pleasure or sensuality that it cannot even be dubbed hedonistic . 
reeks of rot and hack work from start to finish . 
an exhausting family drama about a porcelain empire and just as hard a flick as its subject matter . 
woody allen has really found his groove these days . the problem is that it is one that allows him to churn out one mediocre movie after another . 
the bland outweighs the nifty , and cletis tout never becomes the clever crime comedy it thinks it is . 
it's such a mechanical endeavor [that] it never bothers to question why somebody might devote time to see it . 
the art direction is often exquisite , and the anthropomorphic animal characters are beautifully realized through clever makeup design , leaving one to hope that the eventual dvd release will offer subtitles and the original italian-language soundtrack . 
 if the predictability of bland comfort food appeals to you , then the film is a pleasant enough dish . 
ultimately , in the history of the academy , people may be wondering what all that jazz was about " chicago " in 2002 . zellweger's whiny pouty-lipped poof faced and spindly attempt at playing an ingenue makes her nomination as best actress even more of a an a
a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level . 
a pleasant and engaging enough sit , but in trying to have the best of both worlds it ends up falling short as a whole . 
its plot and animation offer daytime tv serviceability , but little more . 
a tired , unimaginative and derivative variation of that already-shallow genre . 
human nature , in short , isn't nearly as funny as it thinks it is ; neither is it as smart . 
a film with a great premise but only a great premise . 
instead of building to a laugh riot we are left with a handful of disparate funny moments of no real consequence . 
kirshner and monroe seem to be in a contest to see who can out-bad-act the other . ( kirshner wins , but it's close . ) 
a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get involved with her . 
what started out as a taut contest of wills between bacon and theron , deteriorates into a protracted and borderline silly chase sequence . 
[sam's] self-flagellation is more depressing than entertaining . 
an ugly , pointless , stupid movie . 
simply put , there should have been a more compelling excuse to pair susan sarandon and goldie hawn . 
the master of disguise represents adam sandler's latest attempt to dumb down the universe . 
this is an ungainly movie , ill-fitting , with its elbows sticking out where the knees should be . 
too silly to take seriously . 
obvious
the inevitable double- and triple-crosses arise , but the only drama is in waiting to hear how john malkovich's reedy consigliere will pronounce his next line . 
everything's serious , poetic , earnest and -- sadly -- dull . 
i like it . no , i hate it . no , i love it . . . hell , i dunno . 
this mess of a movie is nothing short of a travesty of a transvestite comedy . 
it's clotted with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long . 
a fifty car pileup of cliches . 
it's a stale , overused cocktail using the same olives since 1962 as garnish . not only is entry number twenty the worst of the brosnan bunch , it's one of the worst of the entire franchise . 
what ultimately makes windtalkers a disappointment is the superficial way it deals with its story . 
as an actor's showcase , hart's war has much to recommend it , even if the top-billed willis is not the most impressive player . as a story of dramatic enlightenment , the screenplay by billy ray and terry george leaves something to be desired . 
a non-britney person might survive a screening with little harm done , except maybe for the last 15 minutes , which are as maudlin as any after-school special you can imagine . 
it's not hateful . it's simply stupid , irrelevant and deeply , truly , bottomlessly cynical . 
possibly not since grumpy old men have i heard a film so solidly connect with one demographic while striking out with another . 
the drama was so uninspiring that even a story immersed in love , lust , and sin couldn't keep my attention . 
a rather tired exercise in nostalgia . 
the misery of these people becomes just another voyeuristic spectacle , to be consumed and forgotten . 
some body often looks like an episode of the tv show blind date , only less technically proficient and without the pop-up comments . 
bad company has one of the most moronic screenplays of the year , full of holes that will be obvious even to those who aren't looking for them . 
predecessors the mummy and the mummy returns stand as intellectual masterpieces next to the scorpion king . 
a markedly inactive film , city is conversational bordering on confessional . 
while kids will probably eat the whole thing up , most adults will be way ahead of the plot . 
its one-sidedness . . . flirts with propaganda . 
despite an impressive roster of stars and direction from kathryn bigelow , the weight of water is oppressively heavy . 
we've liked klein's other work but rollerball left us cold . 
they were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they'd earn . they were right . 
it would be churlish to begrudge anyone for receiving whatever consolation that can be found in dragonfly , yet it is impossible to find the film anything but appalling , shamelessly manipulative and contrived , and totally lacking in conviction . 
offers no new insight on the matter , nor do its characters exactly spring to life . 
nohe has made a decent 'intro' documentary , but he feels like a spectator and not a participant . 
apparently designed as a reverie about memory and regret , but the only thing you'll regret is remembering the experience of sitting through it . 
a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit's classic mistaken identity farce into brutally labored and unfunny hokum . 
guy gets girl , guy loses girl , audience falls asleep . 
too ordinary to restore [harmon] to prominence , despite some creepy scenes that evoke childish night terrors , and a praiseworthy attempt to generate suspense rather than gross out the audience . 
stirs potentially enticing ingredients into an uneasy blend of ghost and close encounters of the third kind . 
the weird thing about the santa clause 2 , purportedly a children's movie , is that there is nothing in it to engage children emotionally . 
it's pretentious in a way that verges on the amateurish . 
contains the humor , characterization , poignancy , and intelligence of a bad sitcom . 
it doesn't matter that the film is less than 90 minutes . it still feels like a prison stretch . 
partly a schmaltzy , by-the-numbers romantic comedy , partly a shallow rumination on the emptiness of success -- and entirely soulless . 
ong chooses to present ah na's life as a slight , weightless fairy tale , whose most unpleasant details seem to melt away in the face of the character's blank-faced optimism . 
the overall feel is not unlike watching a glorified episode of " 7th heaven . " 
just a kiss is a just a waste . 
 . . . this isn't even a movie we can enjoy as mild escapism ; it is one in which fear and frustration are provoked to intolerable levels . 
frankly , it's kind of insulting , both to men and women . and it's not that funny -- which is just generally insulting . 
as if drop dead gorgeous wasn't enough , this equally derisive clunker is fixated on the spectacle of small-town competition . 
a wretched movie that reduces the second world war to one man's quest to find an old flame . 
this is a remake by the numbers , linking a halfwit plot to a series of standup routines in which wilson and murphy show how funny they could have been in a more ambitious movie . 
it's better than mid-range steven seagal , but not as sharp as jet li on rollerblades . 
no dia em que aceitou dirigir esta continuao , harold ramis deve ter sado da cama com o p esquerdo . e aqueles que decidiram assistir a este filme tambm . 
there's a reason why halftime is only fifteen minutes long . 
the talk-heavy film plays like one of robert altman's lesser works . 
as happily glib and vicious as its characters . 
one of those films that started with a great premise and then just fell apart . 
 . . . a pretentious mess . . . 
no better or worse than 'truth or consequences , n . m . ' or any other interchangeable actioner with imbecilic mafia toolbags botching a routine assignment in a western backwater . 
a sour attempt at making a farrelly brothers-style , down-and-dirty laugher for the female set . 
[macdowell] ventures beyond her abilities several times here and reveals how bad an actress she is . 
i can imagine this movie as a b&w british comedy , circa 1960 , with peter sellers , kenneth williams , et al . , but at this time , with this cast , this movie is hopeless . 
talky , artificial and opaque . . . an interesting technical exercise , but a tedious picture . 
kurys never shows why , of all the period's volatile romantic lives , sand and musset are worth particular attention . 
almost nothing else -- raunchy and graphic as it may be in presentation -- is one-sided , outwardly sexist or mean-spirited . and in a sense , that's a liability . 
it's easy to love robin tunney -- she's pretty and she can act -- but it gets harder and harder to understand her choices . 
if you've got a house full of tots -- don't worry , this will be on video long before they grow up and you can wait till then . 
the new film of anton chekhov's the cherry orchard puts the 'ick' in 'classic . '
has an uppity musical beat that you can dance to , but its energy can't compare to the wit , humor and snappy dialogue of the original . if i want music , i'll buy the soundtrack . if i want a real movie , i'll buy the criterion dvd . 
an unremarkable , modern action/comedy buddy movie whose only nod to nostalgia is in the title . 
has all the right elements but completely fails to gel together . 
writer-director stephen gaghan has made the near-fatal mistake of being what the english call 'too clever by half . '
seagal ran out of movies years ago , and this is just the proof . 
the movie is so contrived , nonsensical and formulaic that , come to think of it , the day-old shelf would be a more appropriate location to store it . 
an awkwardly garish showcase that diverges from anything remotely probing or penetrating . 
the name says it all . jackass is a vulgar and cheap-looking version of candid camera staged for the marquis de sade set . 
children , christian or otherwise , deserve to hear the full story of jonah's despair -- in all its agonizing , catch-22 glory -- even if they spend years trying to comprehend it . 
pleasant but not more than recycled jock piffle . 
 . . . the kind of movie you see because the theater has air conditioning . 
with zoe clarke-williams's lackluster thriller " new best friend " , who needs enemies ? just another generic drama that has nothing going for it other than its exploitive array of obligatory cheap thrills . 
hip-hop prison thriller of stupefying absurdity . 
an uneven mix of dark satire and childhood awakening . 
aside from showing us in explicit detail how difficult it is to win over the two-drink-minimum crowd , there's little to be learned from watching 'comedian'
a perfectly acceptable , perfectly bland , competently acted but by no means scary horror movie . 
the film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based 'drama , ' but the emphasis on the latter leaves blue crush waterlogged . 
the problem is the needlessly poor quality of its archival prints and film footage . the images lack contrast , are murky and are frequently too dark to be decipherable . 
like a soft drink that's been sitting open too long : it's too much syrup and not enough fizz . 
as the movie dragged on , i thought i heard a mysterious voice , and felt myself powerfully drawn toward the light -- the light of the exit sign . i have returned from the beyond to warn you : this movie is 90 minutes long , and life is too short . 
there are some fairly unsettling scenes , but they never succeed in really rattling the viewer . 
the emperor's club is one of those films that possesses all the good intentions in the world , but . . . 
in the end , the weight of water comes to resemble the kind of soft-core twaddle you'd expect to see on showtime's 'red shoe diaries . '
a straight-ahead thriller that never rises above superficiality . 
glizty but formulaic and silly . . . cagney's 'top of the world' has been replaced by the bottom of the barrel . 
the re- enactments , however fascinating they may be as history , are too crude to serve the work especially well . 
eisenstein lacks considerable brio for a film about one of cinema's directorial giants . 
is anyone else out there getting tired of the whole slo-mo , double-pistoled , ballistic-pyrotechnic hong kong action aesthetic ? 
once again , director chris columbus takes a hat-in-hand approach to rowling that stifles creativity and allows the film to drag on for nearly three hours . 
serving sara is little more than a mall movie designed to kill time . 
too smart to ignore but a little too smugly superior to like , this could be a movie that ends up slapping its target audience in the face by shooting itself in the foot . 
a well-made but emotionally scattered film whose hero gives his heart only to the dog . 
the most repugnant adaptation of a classic text since roland joff and demi moore's the scarlet letter . 
the isolated moments of creative insanity finally are lost in the thin soup of canned humor . 
as a movie , it never seems fresh and vital . it never plays as dramatic even when dramatic things happen to people . it labours as storytelling . 
the adventures of pluto nash is a whole lot of nada . 
a really good premise is frittered away in middle-of-the-road blandness . 
lawrence should stick to his day job . he's a better actor than a standup comedian . 
despite the fact that this film wasn't as bad as i thought it was going to be , it's still not a good movie
a well made indieflick in need of some trims and a more chemistry between its stars . 
i never thought i'd say this , but i'd much rather watch teens poking their genitals into fruit pies ! 
a film neither bitter nor sweet , neither romantic nor comedic , neither warm nor fuzzy . 
tiresomely derivative and hammily acted . 
we never truly come to care about the main characters and whether or not they'll wind up together , and michele's spiritual quest is neither amusing nor dramatic enough to sustain interest . 
the plot grows thin soon , and you find yourself praying for a quick resolution . 
too bad maggio couldn't come up with a better script . 
much of the cast is stiff or just plain bad . 
rice is too pedestrian a filmmaker to bring any edge or personality to the rising place that would set it apart from other deep south stories . 
at best , cletis tout might inspire a trip to the video store -- in search of a better movie experience . 
witless , pointless , tasteless and idiotic . 
not really a thriller so much as a movie for teens to laugh , groan and hiss at . 
as plain and pedestrian as catsup--
an improvement on the feeble examples of big-screen poke-mania that have preceded it . 
i know we're not supposed to take it seriously , but i can't shake the thought that undercover brother missed an opportunity to strongly present some profound social commentary . 
your stomach for heaven depends largely on your appetite for canned corn . 
a picture as erratic as its central character . 
whatever satire lucky break was aiming for , it certainly got lost in the " soon-to-be-forgettable " section of the quirky rip-off prison romp pile . it's petty thievery like this that puts flimsy flicks like this behind bars
the package in which this fascinating -- and timely -- content comes wrapped is disappointingly generic . 
guys say mean things and shoot a lot of bullets . some of the characters die and others don't , and the film pretends that those living have learned some sort of lesson , and , really , nobody in the viewing audience cares . 
wildly incompetent but brilliantly named half past dead -- or for seagal pessimists : totally past his prime . 
just another combination of bad animation and mindless violence . . . lacking the slightest bit of wit or charm . 
all the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling . 
much like its easily dismissive take on the upscale lifestyle , there isn't much there here . 
the film ultimately offers nothing more than people in an urban jungle needing other people to survive . . . 
for all its shoot-outs , fistfights , and car chases , this movie is a phlegmatic bore , so tedious it makes the silly spy vs . spy film the sum of all fears , starring ben affleck , seem downright hitchcockian . 
this mild-mannered farce , directed by one of its writers , john c . walsh , is corny in a way that bespeaks an expiration date passed a long time ago . 
[a] rather thinly-conceived movie . 
a bit too eager to please . 
you'd be hard put to find a movie character more unattractive or odorous [than leon] . 
kapur's contradictory feelings about his material result in a movie that works against itself . 
 " the road paved with good intentions leads to the video store " 
animated drivel meant to enhance the self-image of drooling idiots . 
so-so entertainment . 
one scene after another in this supposedly funny movie falls to the floor with a sickening thud . 
'the chteau is never quite able to overcome the cultural moat surrounding its ludicrous and contrived plot . '
meyjes focuses too much on max when he should be filling the screen with this tortured , dull artist and monster-in-the- making . 
jacobi , the most fluent of actors , is given relatively dry material from nijinsky's writings to perform , and the visuals , even erotically frank ones , become dullingly repetitive . 
crudup's screen presence is the one thing that holds interest in the midst of a mushy , existential exploration of why men leave their families . 
there is one surefire way to get a nomination for a best-foreign-film oscar : make a movie about whimsical folk who learn a nonchallenging , life-affirming lesson while walking around a foreign city with stunning architecture . 
despite terrific special effects and funnier gags , harry potter and the chamber of secrets finds a way to make j . k . rowling's marvelous series into a deadly bore . 
an incredibly narrow in-joke targeted to the tiniest segment of an already obscure demographic . 
the only thing i laughed at were the people who paid to see it . 
all of the elements are in place for a great film noir , but director george hickenlooper's approach to the material is too upbeat . 
the hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone . 
the phone rings and a voice tells you you've got seven days left to live . then you get another phone call warning you that if the video isn't back at blockbuster before midnight , you're going to face frightening late fees . o . k . , not really . 
possibly the most irresponsible picture ever released by a major film studio . 
the film's overall mood and focus is interesting but constantly unfulfilling . 
 . . . a cheap , ludicrous attempt at serious horror . 
those of you who are not an eighth grade girl will most likely doze off during this one . 
punitively affirmational parable . 
befuddled in its characterizations as it begins to seem as long as the two year affair which is its subject
from beginning to end , this overheated melodrama plays like a student film . 
the movie would seem less of a trifle if ms . sugarman followed through on her defiance of the saccharine . 
it's just not very smart . 
like the excruciating end of days , collateral damage presents schwarzenegger as a tragic figure , but sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions . 
imagine ( if possible ) a pasolini film without passion or politics , or an almodovar movie without beauty or humor , and you have some idea of the glum , numb experience of watching o fantasma . 
in trying to be daring and original , it comes off as only occasionally satirical and never fresh . 
90 punitive minutes of eardrum-dicing gunplay , screeching-metal smashups , and flaccid odd-couple sniping . 
sadly , though many of the actors throw off a spark or two when they first appear , they can't generate enough heat in this cold vacuum of a comedy to start a reaction . 
never capitalizes on this concept and opts for the breezy and amateurish feel of an after school special on the subject of tolerance . 
after a while , hoffman's quirks and mannerisms , particularly his penchant for tearing up on cue -- things that seem so real in small doses -- become annoying and artificial . 
this wretchedly unfunny wannabe comedy is inane and awful - no doubt , it's the worst movie i've seen this summer . 
it's drab . it's uninteresting . it squanders chan's uniqueness ; it could even be said to squander jennifer love hewitt ! 
the movie keeps coming back to the achingly unfunny phonce and his several silly subplots . 
this tale has been told and retold ; the races and rackets change , but the song remains the same . 
a surprisingly flat retread , hobbled by half-baked setups and sluggish pacing . 
forget the psychology 101 study of romantic obsession and just watch the procession of costumes in castles and this won't seem like such a bore . 
a film that should be relegated to a dark video store corner is somehow making its way instead to theaters . it's hard to imagine acting that could be any flatter . 
new ways of describing badness need to be invented to describe exactly how bad it is . 
lots of effort and intelligence are on display but in execution it is all awkward , static , and lifeless rumblings . 
when cowering and begging at the feet a scruffy giannini , madonna gives her best performance since abel ferrara had her beaten to a pulp in his dangerous game . 
i suspect that there are more interesting ways of dealing with the subject . 
decent but dull . 
the film itself is about something very interesting and odd that would probably work better as a real documentary without the insinuation of mediocre acting or a fairly trite narrative . 
an unintentional parody of every teen movie made in the last five years . 
only for young children , if them . their parents would do well to cram earplugs in their ears and put pillowcases over their heads for 87 minutes . 
for all its violence , the movie is remarkably dull with only caine making much of an impression . 
no matter how firmly director john stainton has his tongue in his cheek , the fact remains that a wacky concept does not a movie make . 
a sub-formulaic slap in the face to seasonal cheer . 
the action is reasonably well-done . . . yet story , character and comedy bits are too ragged to ever fit smoothly together . 
several uninteresting , unlikeable people do bad things to and with each other in " unfaithful . " why anyone who is not a character in this movie should care is beyond me . 
thin period piece . 
hill looks to be going through the motions , beginning with the pale script . 
howard conjures the past via surrealist flourishes so overwrought you'd swear he just stepped out of a buuel retrospective . 
the best thing that can be said of the picture is that it does have a few cute moments . 
it's not a bad premise , just a bad movie . 
an already thin story boils down to surviving invaders seeking an existent anti-virus . if only there were one for this kind of movie . 
by the time the surprise ending is revealed , interest cannot be revived . 
the heedless impetuousness of youth is on full , irritating display in [this] meandering and pointless french coming-of-age import from writer-director anne-sophie birot . 
a peculiar misfire that even tunney can't save . 
watching queen of the damned is like reading a research paper , with special effects tossed in . 
i can't remember the last time i saw worse stunt editing or cheaper action movie production values than in extreme ops . 
too much of nemesis has a tired , talky feel . 
i felt trapped and with no obvious escape for the entire 100 minutes . 
when mr . hundert tells us in his narration that 'this is a story without surprises , ' we nod in agreement . 
leaves us wondering less about its ideas and more about its characterization of hitler and the contrived nature of its provocative conclusion . 
it is that rare combination of bad writing , bad direction and bad acting -- the trifecta of badness . 
each scene wreaks of routine ; the film never manages to generate a single threat of suspense . 
a soulless jumble of ineptly assembled cliches and pabulum that plays like a 95-minute commercial for nba properties . 
borstal boy represents the worst kind of filmmaking , the kind that pretends to be passionate and truthful but is really frustratingly timid and soggy . 
the film's lack of personality permeates all its aspects  from the tv movie-esque , affected child acting to the dullest irish pub scenes ever filmed . 
works on the whodunit level as its larger themes get lost in the murk of its own making
crush could be the worst film a man has made about women since valley of the dolls . 
4ever has the same sledgehammer appeal as pokemon videos , but it breathes more on the big screen and induces headaches more slowly . 
feels like the work of someone who may indeed have finally aged past his prime . . . and , perhaps more than he realizes , just wants to be liked by the people who can still give him work . 
trailer park magnolia : too long , too cutesy , too sure of its own importance , and possessed of that peculiar tension of being too dense & about nothing at all . 
[a] stuporously solemn film . 
viewers of barney's crushingly self-indulgent spectacle will see nothing in it to match the ordeal of sitting through it . 
 . . . its stupidities wind up sticking in one's mind a lot more than the cool bits . 
sayles . . . once again strands his superb performers in the same old story . 
the piano teacher , like its title character , is repellantly out of control . 
i have to admit i walked out of runteldat . i did go back and check out the last 10 minutes , but these were more repulsive than the first 30 or 40 minutes . 
the filmmakers lack the nerve . . . to fully exploit the script's potential for sick humor . 
the film wasn't preachy , but it was feminism by the book . 
 . . . the same tired old gags , modernized for the extreme sports generation . there's already been too many of these films . . . 
several of steven soderbergh's earlier films were hailed as the works of an artist . sadly , full frontal plays like the work of a dilettante . 
clockstoppers is one of those crazy , mixed-up films that doesn't know what it wants to be when it grows up . 
although bright , well-acted and thought-provoking , tuck everlasting suffers from a laconic pace and a lack of traditional action . 
'the war of the roses , ' trailer-trash style . entertaining but like shooting fish in a barrel . 
supposedly , pokemon can't be killed , but pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over . 
white hasn't developed characters so much as caricatures , one-dimensional buffoons that get him a few laughs but nothing else . 
when you resurrect a dead man , hard copy should come a-knocking , no ? 
cattaneo should have followed the runaway success of his first film , the full monty , with something different . 
the film feels formulaic , its plot and pacing typical hollywood war-movie stuff , while the performances elicit more of a sense of deja vu than awe . 
this overproduced piece of dreck is shockingly bad and absolutely unnecessary . hmmmmight i suggest that the wayward wooden one end it all by stuffing himself into an electric pencil sharpener ? 
the makers of mothman prophecies succeed in producing that most frightening of all movies -- a mediocre horror film too bad to be good and too good to be bad . 
mr . deeds is not really a film as much as it is a loose collection of not-so-funny gags , scattered moments of lazy humor . 
how this one escaped the lifetime network i'll never know . 
couldn't someone take rob schneider and have him switch bodies with a funny person ? 
one of these days hollywood will come up with an original idea for a teen movie , but until then there's always these rehashes to feed to the younger generations . 
for all its brilliant touches , dragon loses its fire midway , nearly flickering out by its perfunctory conclusion . 
i have to admit that i am baffled by jason x . 
a mean-spirited film made by someone who surely read the catcher in the rye but clearly suffers from dyslexia
instead of a witty expose on the banality and hypocrisy of too much kid-vid , we get an ugly , mean-spirited lashing out by an adult who's apparently been forced by his kids to watch too many barney videos . 
this is a film living far too much in its own head . 
the umpteenth summer skinny dip in jerry bruckheimer's putrid pond of retread action twaddle . 
national lampoon's van wilder may aim to be the next animal house , but it more closely resembles this year's version of tomcats . 
the film thrusts the inchoate but already eldritch christian right propaganda machine into national media circles . 
dogtown is hollow , self-indulgent , and - worst of all - boring . 
a movie so bad that it quickly enters the pantheon of wreckage that includes battlefield earth and showgirls . 
more of a career curio than a major work . 
it's just too bad the screenwriters eventually shoot themselves in the feet with cop flick cliches like an oily arms dealer , squad car pile-ups and the requisite screaming captain . 
cox is far more concerned with aggrandizing madness , not the man , and the results might drive you crazy . 
to be influenced chiefly by humanity's greatest shame , reality shows -- reality shows for god's sake ! -- is a crime that should be punishable by chainsaw . 
taken as a whole , the tuxedo doesn't add up to a whole lot . 
as we have come to learn -- as many times as we have fingers to count on -- jason is a killer who doesn't know the meaning of the word 'quit . ' the filmmakers might want to look it up . 
a frustrating 'tweener' -- too slick , contrived and exploitative for the art houses and too cynical , small and decadent for the malls . 
what's surprising about this traditional thriller , moderately successful but not completely satisfying , is exactly how genteel and unsurprising the execution turns out to be . 
drowning's too good for this sucker . 
an instantly forgettable snow-and-stuntwork extravaganza that likely will be upstaged by an avalanche of more appealing holiday-season product . 
frankly , it's pretty stupid . i had more fun with ben stiller's zoolander , which i thought was rather clever . but there's plenty to offend everyone . . . 
love liza is a festival film that would have been better off staying on the festival circuit . 
there are things to like about murder by numbers -- but , in the end , the disparate elements don't gel . 
 . . . tackling a low-budget movie in which inexperienced children play the two main characters might not be the best way to cut your teeth in the film industry . 
quite frankly , i can't see why any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out . 
my precious new star wars movie is a lumbering , wheezy drag . . . 
the innocence of holiday cheer ain't what it used to be . 
too campy to work as straight drama and too violent and sordid to function as comedy , vulgar is , truly and thankfully , a one-of-a-kind work . 
horrid little propaganda film with fascinating connections not only to the serbs themselves but also to a network of american right-wing extremists . 
should have gone straight to video . it looks like an action movie , but it's so poorly made , on all levels , that it doesn't even qualify as a spoof of such . 
it is supremely unfunny and unentertaining to watch middle-age and older men drink to excess , piss on trees , b . s . one another and put on a show in drag . 
consider the film a celluloid litmus test for the intellectual and emotional pedigree of your date and a giant step backward for a director i admire . 
a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for -- well , i'm not exactly sure what -- and has all the dramatic weight of a raindrop . 
sheridan had a wonderful account to work from , but , curiously , he waters it down , turning grit and vulnerability into light reading . 
heavy with flabby rolls of typical toback machinations . 
it is very difficult to care about the character , and that is the central flaw of the film . 
snow dogs finds its humour in a black man getting humiliated by a pack of dogs who are smarter than him
whole stretches of the film may be incomprehensible to moviegoers not already clad in basic black . 
reggio and glass so rhapsodize cynicism , with repetition and languorous slo-mo sequences , that glass's dirgelike score becomes a fang-baring lullaby . 
es triste tener que decirles que lo nico grato de la cinta es el cuerpo desnudo de la heather . . . 
ends up offering nothing more than the latest schwarzenegger or stallone flick would . 
the film makes strong arguments regarding the social status of america's indigenous people , but really only exists to try to eke out an emotional tug of the heart , one which it fails to get . 
charlize chases kevin with a gun . courtney chases stuart with a cell phone . the sound of gunfire and cell phones ringing . 
if the tuxedo actually were a suit , it would fit chan like a $99 bargain-basement special . 
parents beware ; this is downright movie penance . 
 . . . a complete shambles of a movie so sloppy , so uneven , so damn unpleasant that i can't believe any viewer , young or old , would have a good time here . 
has nothing good to speak about other than the fact that it is relatively short , tries its best to hide the fact that seagal's overweight and out of shape . 
a pathetically inane and unimaginative cross between xxx and vertical limit . 
impeccably filmed , sexually charged , but ultimately lacking in substance , not to mention dragged down by a leaden closing act . 
feels at times like a giant commercial for universal studios , where much of the action takes place . 
while the mystery unravels , the characters respond by hitting on each other . 
britney spears' phoniness is nothing compared to the movie's contrived , lame screenplay and listless direction . 
every sequel you skip will be two hours gained . consider this review life-affirming . 
if the movie were all comedy , it might work better . but it has an ambition to say something about its subjects , but not a willingness . 
the movie , while beautiful , feels labored , with a hint of the writing exercise about it . 
twenty-three movies into a mostly magnificent directorial career , clint eastwood's efficiently minimalist style finally has failed him . big time . 
this heist flick about young brooklyn hoods is off the shelf after two years to capitalize on the popularity of vin diesel , seth green and barry pepper . it should have stayed there . 
the film has a childlike quality about it . but the feelings evoked in the film are lukewarm and quick to pass . 
the most opaque , self-indulgent and just plain goofy an excuse for a movie as you can imagine . 
it's not a film to be taken literally on any level , but its focus always appears questionable . 
big fat liar is little more than home alone raised to a new , self-deprecating level . 
the movie is gorgeously made , but it is also somewhat shallow and art-conscious . 
the only time 8 crazy nights comes close to hitting a comedic or satirical target is during the offbeat musical numbers . 
loses its sense of humor in a vat of failed jokes , twitchy acting , and general boorishness . 
there's a delightfully quirky movie to be made from curling , but brooms isn't it . 
the story suffers a severe case of oversimplification , superficiality and silliness . 
chamber of secrets will find millions of eager fans . but if the essence of magic is its make-believe promise of life that soars above the material realm , this is the opposite of a truly magical movie . 
too clever by about nine-tenths . 
has all the hallmarks of a movie designed strictly for children's home video , a market so insatiable it absorbs all manner of lame entertainment , as long as 3-year-olds find it diverting . 
well-meant but unoriginal . 
bears about as much resemblance to the experiences of most battered women as spider-man does to the experiences of most teenagers . 
toward the end sum of all fears morphs into a mundane '70s disaster flick . 
director carl franklin , so crisp and economical in one false move , bogs down in genre cliches here . 
mendes still doesn't quite know how to fill a frame . like the hanks character , he's a slow study : the action is stilted and the tabloid energy embalmed . 
this thing is just garbage . 
as crimes go , writer-director michael kalesniko's how to kill your neighbor's dog is slight but unendurable . 
there must be an audience that enjoys the friday series , but i wouldn't be interested in knowing any of them personally . 
a bold ( and lovely ) experiment that will almost certainly bore most audiences into their own brightly colored dreams . 
an uplifting , largely bogus story . 
an empty exercise , a florid but ultimately vapid crime melodrama with lots of surface flash but little emotional resonance . 
if you are curious to see the darker side of what's going on with young tv actors ( dawson leery did what ? ! ? ) , or see some interesting storytelling devices , you might want to check it out , but there's nothing very attractive about this movie . 
my own minority report is that it stinks . 
trying to make head or tail of the story in the hip-hop indie snipes is enough to give you brain strain -- and the pay-off is negligible . 
the script is high on squaddie banter , low on shocks . 
 . . . if you , like me , think an action film disguised as a war tribute is disgusting to begin with , then you're in for a painful ride . 
while solondz tries and tries hard , storytelling fails to provide much more insight than the inside column of a torn book jacket . 
with very little to add beyond the dark visions already relayed by superb recent predecessors like swimming with sharks and the player , this latest skewering . . . may put off insiders and outsiders alike . 
[davis] wants to cause his audience an epiphany , yet he refuses to give us real situations and characters . 
without a fresh infusion of creativity , 4ever is neither a promise nor a threat so much as wishful thinking . 
 . . . unlike [scorsese's mean streets] , ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot . 
being unique doesn't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke . 
a few hours after you've seen it , you forget you've been to the movies . 
odd and weird . 
waydowntown may not be an important movie , or even a good one , but it provides a nice change of mindless pace in collision with the hot oscar season currently underway . 
yes , i suppose it's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life -- but world traveler gave me no reason to care , so i didn't . 
shadyac , who belongs with the damned for perpetrating patch adams , trots out every ghost trick from the sixth sense to the mothman prophecies . 
the photographer's show-don't-tell stance is admirable , but it can make him a problematic documentary subject . 
it is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time she fails to provoke them . 
i'd be hard pressed to think of a film more cloyingly sappy than evelyn this year . 
nothing more than an amiable but unfocused bagatelle that plays like a loosely-connected string of acting-workshop exercises . 
meanders between its powerful moments . 
what remains is a variant of the nincompoop benigni persona , here a more annoying , though less angry version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip . 
a backhanded ode to female camaraderie penned by a man who has little clue about either the nature of women or of friendship . 
pure of intention and passably diverting , his secret life is light , innocuous and unremarkable . 
 . . . delivers few moments of inspiration amid the bland animation and simplistic story . 
take away the controversy , and it's not much more watchable than a mexican soap opera . 
it's got the brawn , but not the brains . 
mindless and boring martial arts and gunplay with too little excitement and zero compelling storyline . 
a lot of talent is wasted in this crass , low-wattage endeavor . 
to show these characters in the act and give them no feelings of remorse -- and to cut repeatedly to the flashback of the original rape -- is overkill to the highest degree . 
[t]oo many of these gross out scenes . . . 
about one in three gags in white's intermittently wise script hits its mark ; the rest are padding unashamedly appropriated from the teen-exploitation playbook . 
little is done to support the premise other than fling gags at it to see which ones shtick . 
reno does what he can in a thankless situation , the film ricochets from humor to violence and back again , and ryoko hirosue makes us wonder if she is always like that . 
if jews were catholics , this would be catechism
one of those films that seems tailor made to air on pay cable to offer some modest amusements when one has nothing else to watch . 
the big ending surprise almost saves the movie . it's too bad that the rest isn't more compelling . 
charming , if overly complicated . . . 
schneider's mugging is relentless and his constant need to suddenly transpose himself into another character undermines the story's continuity and progression . 
all very stylish and beautifully photographed , but far more trouble than it's worth , with fantasy mixing with reality and actors playing more than one role just to add to the confusion . 
it's probably not easy to make such a worthless film . . . 
hope keeps arising that the movie will live up to the apparent skills of its makers and the talents of its actors , but it doesn't . 
has no reason to exist , other than to employ hollywood kids and people who owe favors to their famous parents . 
for a guy who has waited three years with breathless anticipation for a new hal hartley movie to pore over , no such thing is a big letdown . 
constantly slips from the grasp of its maker . 
smothered by its own solemnity . 
'christian bale's quinn [is] a leather clad grunge-pirate with a hairdo like gandalf in a wind-tunnel and a simply astounding cor-blimey-luv-a-duck cockney accent . '
might be one of those vanity projects in which a renowned filmmaker attempts to show off his talent by surrounding himself with untalented people . 
after you laugh once ( maybe twice ) , you will have completely forgotten the movie by the time you get back to your car in the parking lot . 
not one moment in the enterprise didn't make me want to lie down in a dark room with something cool to my brow . 
in the era of the sopranos , it feels painfully redundant and inauthentic . 
the overall vibe is druggy and self-indulgent , like a spring-break orgy for pretentious arts majors . 
breen's script is sketchy with actorish notations on the margin of acting . 
there's no question that epps scores once or twice , but it's telling that his funniest moment comes when he falls about ten feet onto his head . 
if only merchant paid more attention the story . 
at the one-hour mark , herzog simply runs out of ideas and the pace turns positively leaden as the movie sputters to its inevitable tragic conclusion . 
 . . . too contrived to be as naturally charming as it needs to be . 
a simpler , leaner treatment would have been preferable ; after all , being about nothing is sometimes funnier than being about something . 
the characters are based on stock clichs , and the attempt to complicate the story only defies credibility . 
everything about it from the bland songs to the colorful but flat drawings is completely serviceable and quickly forgettable . 
not the great american comedy , but if you liked the previous movies in the series , you'll have a good time with this one too . 
a domestic melodrama with weak dialogue and biopic cliches . 
mr . goyer's loose , unaccountable direction is technically sophisticated in the worst way . 
the movie is so thoughtlessly assembled . 
benigni presents himself as the boy puppet pinocchio , complete with receding hairline , weathered countenance and american breckin meyer's ridiculously inappropriate valley boy voice . 
plays like some corny television production from a bygone era
the end result is like cold porridge with only the odd enjoyably chewy lump . 
for all the charm of kevin kline and a story that puts old-fashioned values under the microscope , there's something creepy about this movie . 
i was feeling this movie until it veered off too far into the exxon zone , and left me behind at the station looking for a return ticket to realism . 
producer john penotti surveyed high school students . . . and came back with the astonishing revelation that " they wanted to see something that didn't talk down to them . " ignoring that , he made swimfan anyway
naipaul fans may be disappointed . those who are not acquainted with the author's work , on the other hand , may fall fast asleep . 
hoffman waits too long to turn his movie in an unexpected direction , and even then his tone retains a genteel , prep-school quality that feels dusty and leatherbound . 
if you're a crocodile hunter fan , you'll enjoy at least the " real " portions of the film . if you're looking for a story , don't bother . 
full frontal had no effect and elicited no sympathies for any of the characters . by that measure , it is a failure . 
a baffling mixed platter of gritty realism and magic realism with a hard-to-swallow premise . 
an affable but undernourished romantic comedy that fails to match the freshness of the actress-producer and writer's previous collaboration , miss congeniality . 
sometimes this modest little number clicks , and sometimes it doesn't . 
like a pack of dynamite sticks , built for controversy . the film is explosive , but a few of those sticks are wet . 
has its charming quirks and its dull spots . 
an admitted egomaniac , evans is no hollywood villain , and yet this grating showcase almost makes you wish he'd gone the way of don simpson . 
the audience when i saw this one was chuckling at all the wrong times , and that's a bad sign when they're supposed to be having a collective heart attack . 
everyone's to blame here . 
you get the impression that writer and director burr steers knows the territory . . . but his sense of humor has yet to lose the smug self-satisfaction usually associated with the better private schools . 
less a study in madness or love than a study in schoolgirl obsession . 
rice never clearly defines his characters or gives us a reason to care about them . 
it's a bizarre curiosity memorable mainly for the way it fritters away its potentially interesting subject matter via a banal script , unimpressive acting and indifferent direction . 
a slight and obvious effort , even for one whose target demographic is likely still in the single digits , age-wise . 
sex with strangers will shock many with its unblinking frankness . but what is missing from it all is a moral . what is the filmmakers' point ? why did they deem it necessary to document all this emotional misery ? 
you see robin williams and psycho killer , and you think , hmmmmm . you see the movie and you think , zzzzzzzzz . 
downright transparent is the script's endless assault of embarrassingly ham-fisted sex jokes that reek of a script rewrite designed to garner the film a " cooler " pg-13 rating . 
the movie slides downhill as soon as macho action conventions assert themselves . 
formulaic to the 51st power , more like . 
draggin' about dragons
howard and his co-stars all give committed performances , but they're often undone by howard's self-conscious attempts to find a 'literary' filmmaking style to match his subject . 
a respectable but uninspired thriller that's intelligent and considered in its details , but ultimately weak in its impact . 
jones helps breathe some life into the insubstantial plot , but even he is overwhelmed by predictability . 
the movie just has too much on its plate to really stay afloat for its just under ninety minute running time . 
comes off more like a misdemeanor , a flat , unconvincing drama that never catches fire . 
cinematic poo . 
offers absolutely nothing i hadn't already seen . 
 " analyze that " is one of those crass , contrived sequels that not only fails on its own , but makes you second-guess your affection for the original . 
you might say tykwer has done all that heaven allows , if you wanted to make as anti-kieslowski a pun as possible . suffice to say its total promise is left slightly unfulfilled . 
complex , sinuously plotted and , somehow , off-puttingly cold . 
first-time writer-director dylan kidd also has a good ear for dialogue , and the characters sound like real people . 
 . . . an airless , prepackaged julia roberts wannabe that stinks so badly of hard-sell image-mongering you'll wonder if lopez's publicist should share screenwriting credit . 
goldmember has none of the visual wit of the previous pictures , and it looks as though jay roach directed the film from the back of a taxicab . 
could as easily have been called 'under siege 3 : in alcatraz' . . . a cinematic corpse that never springs to life . 
in comparison to his earlier films it seems a disappointingly thin slice of lower-class london life ; despite the title . . . amounts to surprisingly little . 
lame sweet home leaves no southern stereotype unturned . 
slow , dry , poorly cast , but beautifully shot . 
the jokes are sophomoric , stereotypes are sprinkled everywhere and the acting ranges from bad to bodacious . 
will give many ministers and bible-study groups hours of material to discuss . but mainstream audiences will find little of interest in this film , which is often preachy and poorly acted . 
in its chicken heart , crush goes to absurd lengths to duck the very issues it raises . 
this long and relentlessly saccharine film is a clear case of preaching to the converted . 
the film is flat . 
the movie is a lumbering load of hokum but . . . it's at least watchable . 
it's a boom-box of a movie that might have been titled 'the loud and the ludicrous' . . . the pandering to a moviegoing audience dominated by young males is all too calculated . 
an unbelievably stupid film , though occasionally fun enough to make you forget its absurdity . 
the first fatal attraction was vile enough . do we really need the tiger beat version ? 
this bond film goes off the beaten path , not necessarily for the better . 
the problem is that the movie has no idea of it is serious or not . 
when the fire burns out , we've only come face-to-face with a couple dragons and that's where the film ultimately fails . 
it would work much better as a one-hour tv documentary . 
the elements were all there but lack of a pyschological center knocks it flat . 
anemic chronicle of money grubbing new yorkers and their serial loveless hook ups . 
simply doesn't have sufficient heft to justify its two-hour running time . 
an unsuccessful attempt at a movie of ideas . 
queen of the damned as you might have guessed , makes sorry use of aaliyah in her one and only starring role -- she does little here but point at things that explode into flame . 
this toothless dog , already on cable , loses all bite on the big screen . 
it made me feel unclean , and i'm the guy who liked there's something about mary and both american pie movies . oh , and booty call . 
not only is it hokey , manipulative and as bland as wonder bread dipped in milk , but it also does the absolute last thing we need hollywood doing to us : it preaches . 
it's so crammed with scenes and vistas and pretty moments that it's left a few crucial things out , like character development and coherence . 
serving sara should be served an eviction notice at every theater stuck with it . 
director roger michell does so many of the little things right that it's difficult not to cuss him out severely for bungling the big stuff . 
a loud , low-budget and tired formula film that arrives cloaked in the euphemism 'urban drama . '
the movie has a script ( by paul pender ) made of wood , and it's relentlessly folksy , a procession of stagy set pieces stacked with binary oppositions . 
a pathetic exploitation film that tries to seem sincere , and just seems worse for the effort . 
at some point , all this visual trickery stops being clever and devolves into flashy , vaguely silly overkill . 
despite some charm and heart , this quirky soccer import is forgettable
meyjes's movie , like max rothman's future , does not work . 
what's needed so badly but what is virtually absent here is either a saving dark humor or the feel of poetic tragedy . 
schneidermeister . . . makin' a fool of himself . . . losin' his fan base . . . 
an ambitious , serious film that manages to do virtually everything wrong ; sitting through it is something akin to an act of cinematic penance . 
not once does it come close to being exciting . 
a frankenstein mishmash that careens from dark satire to cartoonish slapstick , bartleby performs neither one very well . 
it plays like a big-budget , after-school special with a generous cast , who at times lift the material from its well-meaning clunkiness . 
there's something not entirely convincing about the quiet american . and that holds true for both the movie and the title character played by brendan fraser . 
one of those strained caper movies that's hardly any fun to watch and begins to vaporize from your memory minutes after it ends . 
needed a little less bling-bling and a lot more romance . 
the ending doesn't work . . . but most of the movie works so well i'm almost recommending it , anyway -- maybe not to everybody , but certainly to people with a curiosity about how a movie can go very right , and then step wrong . 
it's hard to believe these jokers are supposed to have pulled off four similar kidnappings before . 
i'm not exactly sure what this movie thinks it is about . 
cal is an unpleasantly shallow and immature character with whom to spend 110 claustrophobic minutes . 
so brisk is wang's pacing that none of the excellent cast are given air to breathe . 
the bottom line , at least in my opinion , is imposter makes a better short story than it does a film . 
some elements of it really blow the big one , but other parts are decent . 
it is just too bad the film's story does not live up to its style . 
unless you're a fanatic , the best advice is : 'scooby' don't . 
a cautionary tale about the folly of superficiality that is itself endlessly superficial . 
for single digits kidlets stuart little 2 is still a no brainer . if you're looking to rekindle the magic of the first film , you'll need a stronger stomach than us . 
shreve's graceful dual narrative gets clunky on the screen , and we keep getting torn away from the compelling historical tale to a less-compelling soap opera . 
contains a few big laughs but many more that graze the funny bone or miss it altogether , in part because the consciously dumbed-down approach wears thin . 
nothing more than a widget cranked out on an assembly line to see if stupid americans will get a kick out of goofy brits with cute accents performing ages-old slapstick and unfunny tricks . 
this is a film tailor-made for those who when they were in high school would choose the cliff-notes over reading a full-length classic . 
the movie is undone by a filmmaking methodology that's just experimental enough to alienate the mainstream audience while ringing cliched to hardened indie-heads . 
a jumbled fantasy comedy that did not figure out a coherent game plan at scripting , shooting or post-production stages . 
a sad and rote exercise in milking a played-out idea -- a straight guy has to dress up in drag -- that shockingly manages to be even worse than its title would imply . 
personal velocity ought to be exploring these women's inner lives , but it never moves beyond their surfaces . 
we hate [madonna] within the film's first five minutes , and she lacks the skill or presence to regain any ground . 
sounding like arnold schwarzenegger , with a physique to match , [ahola] has a wooden delivery and encounters a substantial arc of change that doesn't produce any real transformation . 
two big things are missing -- anything approaching a visceral kick , and anything approaching even a vague reason to sit through it all . 
a fascinating but choppy documentary . 
scarcely worth a mention apart from reporting on the number of tumbleweeds blowing through the empty theatres graced with its company . 
the doofus-on- the-loose banter of welcome to collinwood has a cocky , after-hours loopiness to it . and as with most late-night bull sessions , eventually the content isn't nearly as captivating as the rowdy participants think it is . 
too stagey , talky -- and long -- for its own good . 
apparently reassembled from the cutting-room floor of any given daytime soap . 
the sinister inspiration that fuelled devito's early work is confused in death to smoochy into something both ugly and mindless . 
despite auteuil's performance , it's a rather listless amble down the middle of the road , where the thematic ironies are too obvious and the sexual politics too smug . 
director boris von sychowski instead opts for a routine slasher film that was probably more fun to make than it is to sit through . 
 . . . little more than a well-acted television melodrama shot for the big screen . 
never comes together as a coherent whole . 
an unintentionally surreal kid's picture . . . in which actors in bad bear suits enact a sort of inter-species parody of a vh1 behind the music episode . 
first , for a movie that tries to be smart , it's kinda dumb . and second , what's with all the shooting ? 
don't even bother to rent this on video . 
there is something in full frontal , i guess , about artifice and acting and how it distorts reality for people who make movies and watch them , but like most movie riddles , it works only if you have an interest in the characters you see . 
this is the kind of movie that gets a quick release before real contenders arrive in september . 
not counting a few gross-out comedies i've been trying to forget , this is the first film in a long time that made me want to bolt the theater in the first 10 minutes . 
plays like one long , meandering sketch inspired by the works of john waters and todd solondz , rather than a fully developed story . 
the film doesn't have enough innovation or pizazz to attract teenagers , and it lacks the novel charm that made spy kids a surprising winner with both adults and younger audiences . 
a mawkish self-parody that plays like some weird masterpiece theater sketch with neither a point of view nor a compelling reason for being . 
an average b-movie with no aspirations to be anything more . 
bartlett's hero remains a reactive cipher , when opening the man's head and heart is the only imaginable reason for the film to be made . 
gibney and jarecki just want to string the bastard up . 
the plot is plastered with one hollywood cliche after another , most of which involve precocious kids getting the better of obnoxious adults . 
less worrying about covering all the drama in frida's life and more time spent exploring her process of turning pain into art would have made this a superior movie . 
a film that suffers because of its many excesses . 
too bland and fustily tasteful to be truly prurient . 
in any case , i would recommend big bad love only to winger fans who have missed her since 1995's forget paris . but even then , i'd recommend waiting for dvd and just skipping straight to her scenes . 
depicts the sorriest and most sordid of human behavior on the screen , then laughs at how clever it's being . 
nijinsky says , 'i know how to suffer' and if you see this film you'll know too . 
'cq may one day be fondly remembered as roman coppola's brief pretentious period before going on to other films that actually tell a story worth caring about
the only thing scary about feardotcom is that the filmmakers and studio are brazen enough to attempt to pass this stinker off as a scary movie . 
 . . . stale and uninspired . 
a dreary movie . 
 . . . the story simply putters along looking for astute observations and coming up blank . 
instead of contriving a climactic hero's death for the beloved-major- character-who-shall- remain-nameless , why not invite some genuine spontaneity into the film by having the evil aliens' laser guns actually hit something for once ? 
it just didn't mean much to me and played too skewed to ever get a hold on ( or be entertained by ) . 
this action-thriller/dark comedy is one of the most repellent things to pop up in a cinematic year already littered with celluloid garbage . 
mib ii is a movie that makes it possible for the viewer to doze off for a few minutes or make several runs to the concession stand and/or restroom and not feel as if he or she has missed anything . that's because relatively nothing happens . 
no amount of arty theorizing -- the special effects are 'german-expressionist , ' according to the press notes -- can render it anything but laughable . 
blue crush follows the formula , but throws in too many conflicts to keep the story compelling . 
boyd's screenplay ( co-written with guardian hack nick davies ) has a florid turn of phrase that owes more to guy ritchie than the bard of avon . 
there's not a spark of new inspiration in it , just more of the same , done with noticeably less energy and imagination . 
jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder . 
a moving picture that does not move . 
ruh-roh ! romething's really wrong with this ricture ! 
its salient points are simultaneously buried , drowned and smothered in the excesses of writer-director roger avary . 
i'm not sure these words have ever been together in the same sentence : this erotic cannibal movie is boring . 
'god help us , but capra and cooper are rolling over in their graves . '
 . . . an hour-and-a-half of inoffensive , unmemorable filler . 
is it a comedy ? a drama ? a romance ? a cartoon ? 
ze movie starts out so funny , then she is nothing . 
did the film inform and educate me ? yes . did it move me to care about what happened in 1915 armenia ? no . and that is where ararat went astray . 
it's a bad sign in a thriller when you instantly know whodunit . 
has a customarily jovial air but a deficit of flim-flam inventiveness . 
eight legged freaks won't join the pantheon of great monster/science fiction flicks that we have come to love . . . 
it gets the details of its time frame right but it completely misses its emotions . 
who , exactly , is fighting whom here ? ah , yes , that would be me : fighting off the urge to doze . 
a kilted jackson is an unsettling sight , and indicative of his , if you will , out-of-kilter character , who rambles aimlessly through ill-conceived action pieces . 
contrived , awkward and filled with unintended laughs , the film shows signs that someone other than the director got into the editing room and tried to improve things by making the movie go faster . 
starts out with tremendous promise , introducing an intriguing and alluring premise , only to fall prey to a boatload of screenwriting cliches that sink it faster than a leaky freighter . 
the film lapses too often into sugary sentiment and withholds delivery on the pell-mell pyrotechnics its punchy style promises . 
the only question . . . is to determine how well the schmaltz is manufactured -- to assess the quality of the manipulative engineering . average , at best , i'm afraid . 
this movie is so bad , that it's almost worth seeing because it's so bad . 
a crisply made movie that is no more than mildly amusing . 
this movie feel more like a non-stop cry for attention , than an attempt at any kind of satisfying entertainment . 
overall , it's a pretty mediocre family film . 
love may have been in the air onscreen , but i certainly wasn't feeling any of it . 
in addition to the overcooked , ham-fisted direction , which has all the actors reaching for the back row , the dialogue sounds like horrible poetry . 
the very definition of what critics have come to term an " ambitious failure . " 
it's as if de palma spent an hour setting a fancy table and then served up kraft macaroni and cheese . 
the movie ends with outtakes in which most of the characters forget their lines and just utter 'uhhh , ' which is better than most of the writing in the movie . 
worthy of the gong . 
while certainly more naturalistic than its australian counterpart , amari's film falls short in building the drama of lilia's journey . 
i found the movie as divided against itself as the dysfunctional family it portrays . 
the soul-searching deliberateness of the film , although leavened nicely with dry absurdist wit , eventually becomes too heavy for the plot . 
the movie doesn't add anything fresh to the myth . 
as inept as big-screen remakes of the avengers and the wild wild west . 
comes across as a relic from a bygone era , and its convolutions . . . feel silly rather than plausible . 
moves in such odd plot directions and descends into such message-mongering moralism that its good qualities are obscured . 
it's a very sincere work , but it would be better as a diary or documentary . 
once one experiences mr . haneke's own sadistic tendencies toward his audience , one is left with a sour taste in one's mouth , and little else . 
oops , she's really done it this time . that chirpy songbird britney spears has popped up with more mindless drivel . 
it's a loathsome movie , it really is and it makes absolutely no sense . 
a chiller resolutely without chills . 
for those of us who respond more strongly to storytelling than computer-generated effects , the new star wars installment hasn't escaped the rut dug by the last one . 
the director mostly plays it straight , turning leys' fable into a listless climb down the social ladder . 
 " bad " is the operative word for " bad company , " and i don't mean that in a good way . 
though frida is easier to swallow than julie taymor's preposterous titus , the eye candy here lacks considerable brio . 
drumline is -- the mere suggestion , albeit a visually compelling one , of a fully realized story . 
the whole movie is simply a lazy exercise in bad filmmaking that asks you to not only suspend your disbelief but your intelligence as well . 
the film affords us intriguing glimpses of the insights gleaned from a lifetime of spiritual inquiry , but ram dass : fierce grace doesn't organize it with any particular insight . 
pompous and garbled . 
billy crystal and robert de niro sleepwalk through vulgarities in a sequel you can refuse . 
it's loud and boring ; watching it is like being trapped at a bad rock concert . 
merely ( and literally ) tosses around sex toys and offers half-hearted paeans to empowerment that are repeatedly undercut by the brutality of the jokes , most at women's expense . 
if you want a movie time trip , the 1960 version is a far smoother ride . 
traffics in the kind of prechewed racial clichs that have already been through the corporate stand-up-comedy mill . 
the story is -- forgive me -- a little thin , and the filmmaking clumsy and rushed . 
 . . . grows decidedly flimsier with its many out-sized , out of character and logically porous action set pieces . 
i wish windtalkers had had more faith in the dramatic potential of this true story . this would have been better than the fiction it has concocted , and there still could have been room for the war scenes . 
aggressive self-glorification and a manipulative whitewash . stay for the credits and see a devastating comic impersonation by dustin hoffman that is revelatory . 
none of the characters or plot-lines are fleshed-out enough to build any interest . 
as social expos , skins has its heart in the right place , but that's not much to hang a soap opera on . 
the whole film has this sneaky feel to it  as if the director is trying to dupe the viewer into taking it all as very important simply because the movie is ugly to look at and not a hollywood product . 
there's a bit of thematic meat on the bones of queen of the damned , as its origins in an anne rice novel dictate , but generally , it's a movie that emphasizes style over character and substance . 
the only way to tolerate this insipid , brutally clueless film might be with a large dose of painkillers . 
this one is certainly well-meaning , but it's also simple-minded and contrived . 
coppola has made a film of intoxicating atmosphere and little else . 
bad and baffling from the get-go . 
a series of immaculately composed shots of patch adams quietly freaking out does not make for much of a movie . 
at a time when we've learned the hard way just how complex international terrorism is , collateral damage paints an absurdly simplistic picture . 
the impulses that produced this project . . . are commendable , but the results are uneven . 
a well-acted movie that simply doesn't gel . 
like a can of 2-day old coke . you can taste it , but there's no fizz . 
there's no excuse for following up a delightful , well-crafted family film with a computer-generated cold fish . 
both the crime story and the love story are unusual . but they don't fit well together and neither is well told . 
it's both sitcomishly predictable and cloying in its attempts to be poignant . 
other than a mildly engaging central romance , hospital is sickly entertainment at best and mind-destroying cinematic pollution at worst . 
jaglom offers the none-too-original premise that everyone involved with moviemaking is a con artist and a liar . 
outside of burger's desire to make some kind of film , it's really unclear why this project was undertaken
was i scared ? only at the prospect of beck's next project . let's see , a haunted house , a haunted ship , what's next . . . ghost blimp ? 
a fragile framework upon which to hang broad , mildly fleshed-out characters that seem to have been conjured up only 10 minutes prior to filming . 
by the time the plot grinds itself out in increasingly incoherent fashion , you might be wishing for a watch that makes time go faster rather than the other way around . 
since lee is a sentimentalist , the film is more worshipful than your random e ! true hollywood story . 
wes craven's presence is felt ; not the craven of 'a nightmare on elm street' or 'the hills have eyes , ' but the sad schlock merchant of 'deadly friend . '
sunshine state surveys the landscape and assesses the issues with a clear passion for sociology . but the cinematography is cloudy , the picture making becalmed . 
it's one long bore . 
it gets old quickly . watch barbershop again if you're in need of a cube fix--this isn't worth sitting through . 
it's leaden and predictable , and laughs are lacking . 
 . . . a cinematic disaster so inadvertently sidesplitting it's worth the price of admission for the ridicule factor alone . 
skip this dreck , rent animal house and go back to the source . 
the movie is a desperate miscalculation . it gives poor dana carvey nothing to do that is really funny , and then expects us to laugh because he acts so goofy all the time . 
we just don't really care too much about this love story . in that setting , their struggle is simply too ludicrous and borderline insulting . 
the transporter bombards the viewer with so many explosions and side snap kicks that it ends up being surprisingly dull . 
uzumaki's interesting social parallel and defiant aesthetic seems a prostituted muse . . . 
'men in black ii creates a new threat for the mib , but recycles the same premise . 
large budget notwithstanding , the movie is such a blip on the year's radar screen that it's tempting just to go with it for the ride . but this time , the old mib label stands for milder isn't better . 
feels familiar and tired . 
a retread of material already thoroughly plumbed by martin scorsese . 
instead of making his own style , director marcus adams just copies from various sources  good sources , bad mixture
criminal conspiracies and true romances move so easily across racial and cultural lines in the film that it makes my big fat greek wedding look like an apartheid drama . 
a bore that tends to hammer home every one of its points . 
a story which fails to rise above its disgusting source material . 
it's fitting that a movie as artificial and soulless as the country bears owes its genesis to an animatronic display at disneyland . 
starts as an intense political and psychological thriller but is sabotaged by ticking time bombs and other hollywood-action cliches . 
completely creatively stillborn and executed in a manner that i'm not sure could be a single iota worse . . . a soulless hunk of exploitative garbage . 
an uneven look into a grim future that doesn't come close to the level of intelligence and visual splendour that can be seen in other films based on philip k . dick stories . 
horrible
the disjointed mess flows as naturally as jolie's hideous yellow 'do . 
bolstered by an astonishing voice cast ( excepting love hewitt ) , an interesting racial tension , and a storyline that i haven't encountered since at least pete's dragon . 
an authentically vague , but ultimately purposeless , study in total pandemonium . 
makes a joke out of car chases for an hour and then gives us half an hour of car chases . 
as the sulking , moody male hustler in the title role , [franco] has all of dean's mannerisms and self-indulgence , but none of his sweetness and vulnerability . 
the only thing to fear about " fear dot com " is hitting your head on the theater seat in front of you when you doze off thirty minutes into the film . 
it's too interested in jerking off in all its byzantine incarnations to bother pleasuring its audience . 
'synthetic' is the best description of this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree . 
it concentrates far too much on the awkward interplay and utter lack of chemistry between chan and hewitt . 
impostor can't think of a thing to do with these characters except have them run through dark tunnels , fight off various anonymous attackers , and evade elaborate surveillance technologies . 
judd's characters ought to pick up the durable best seller smart women , foolish choices for advice . 
the script has less spice than a rat burger and the rock's fighting skills are more in line with steven seagal . 
this ill-conceived and expensive project winds up looking like a bunch of talented thesps slumming it . 
 . . . there's a choppy , surface-effect feeling to the whole enterprise . 
doesn't get the job done , running off the limited chemistry created by ralph fiennes and jennifer lopez . 
a particularly joyless , and exceedingly dull , period coming-of-age tale . 
it's impossible to indulge the fanciful daydreams of janice beard ( eileen walsh ) when her real-life persona is so charmless and vacant . 
it wasn't the subject matter that ultimately defeated the filmit was the unfulfilling , incongruous , " wait a second , did i miss something ? " ending . 
this is a movie where the most notable observation is how long you've been sitting still . 
poor editing , bad bluescreen , and ultra-cheesy dialogue highlight the radical action . 
it's super- violent , super-serious and super-stupid . 
so earnest and well-meaning , and so stocked with talent , that you almost forget the sheer , ponderous awfulness of its script . 
just a string of stale gags , with no good inside dope , and no particular bite . 
it's splash without the jokes . 
the chteau would have been benefited from a sharper , cleaner script before it went in front of the camera . not to mention a sharper , cleaner camera lens . 
shallow , noisy and pretentious . 
morrissette has performed a difficult task indeed - he's taken one of the world's most fascinating stories and made it dull , lifeless , and irritating . 
granddad of le nouvelle vague , jean-luc godard continues to baffle the faithful with his games of hide-and-seek . 
this loud and thoroughly obnoxious comedy about a pair of squabbling working-class spouses is a deeply unpleasant experience . 
it's better than the phantom menace . but unless you're an absolute raving star wars junkie , it isn't much fun . 
philosophically , intellectually and logistically a mess . 
a standard police-oriented drama that , were it not for de niro's participation , would have likely wound up a tnt original . 
coupling disgracefully written dialogue with flailing bodily movements that substitute for acting , circuit is the awkwardly paced soap opera-ish story . 
hollywood ending just isn't very funny . 
though clearly well-intentioned , this cross-cultural soap opera is painfully formulaic and stilted . 
a technical triumph and an extraordinary bore . 
i can easily imagine benigni's pinocchio becoming a christmas perennial . coal isn't as easy to come by as it used to be and this would be a worthy substitute for naughty children's stockings . 
two hours of junk . 
ends up being mostly about ravishing costumes , eye-filling , wide-screen production design and joan's wacky decision to stand by her man , no matter how many times he demonstrates that he's a disloyal satyr . 
self-congratulatory , misguided , and ill-informed , if nonetheless compulsively watchable . 
a clumsily manufactured exploitation flick , a style-free exercise in manipulation and mayhem . 
the whole affair , true story or not , feels incredibly hokey . . . [it] comes off like a hallmark commercial . 
what's missing is what we call the 'wow' factor . 
the nicest thing that can be said about stealing harvard ( which might have been called freddy gets molested by a dog ) is that it's not as obnoxious as tom green's freddie got fingered . 
 . . . tara reid plays a college journalist , but she looks like the six-time winner of the miss hawaiian tropic pageant , so i don't know what she's doing in here . . . 
the young stars are too cute ; the story and ensuing complications are too manipulative ; the message is too blatant ; the resolutions are too convenient . 
normally , rohmer's talky films fascinate me , but when he moves his setting to the past , and relies on a historical text , he loses the richness of characterization that makes his films so memorable . 
i highly recommend irwin , but not in the way this film showcases him . 
it's been 13 months and 295 preview screenings since i last walked out on a movie , but resident evil really earned my indignant , preemptive departure . 
this picture is mostly a lump of run-of-the-mill profanity sprinkled with a few remarks so geared toward engendering audience sympathy that you might think he was running for office -- or trying to win over a probation officer . 
malone does have a gift for generating nightmarish images that will be hard to burn out of your brain . but the movie's narrative hook is way too muddled to be an effectively chilling guilty pleasure . 
though it goes further than both , anyone who has seen the hunger or cat people will find little new here , but a tasty performance from vincent gallo lifts this tale of cannibal lust above the ordinary . 
a blair witch- style adventure that plays like a bad soap opera , with passable performances from everyone in the cast . 
diaz wears out her welcome in her most charmless performance
it is too bad that this likable movie isn't more accomplished . the actors try hard but come off too amateurish and awkward . 
the plot has a number of holes , and at times it's simply baffling . 
an ill-conceived jumble that's not scary , not smart and not engaging . 
brainless , but enjoyably over-the-top , the retro gang melodrama , deuces wild represents fifties teen-gang machismo in a way that borders on rough-trade homo-eroticism . 
gets bogged down by an overly sillified plot and stop-and-start pacing . 
utter mush . . . conceited pap . 
 " what john does is heroic , but we don't condone it , " one of the film's stars recently said , a tortuous comment that perfectly illustrates the picture's moral schizophrenia . 
like coming into a long-running , well-written television series where you've missed the first half-dozen episodes and probably won't see the next six . 
this is no " waterboy ! " 
its generic villains lack any intrigue ( other than their funny accents ) and the action scenes are poorly delivered . 
dripping with cliche and bypassing no opportunity to trivialize the material . 
hard-core slasher aficionados will find things to like . . . but overall the halloween series has lost its edge . 
stiff and schmaltzy and clumsily directed . 
the story the movie tells is of brian de palma's addiction to the junk-calorie suspense tropes that have all but ruined his career . 
too many improbabilities and rose-colored situations temper what could've been an impacting film . 
generic slasher-movie nonsense , but it's not without style . 
with tiny little jokes and nary an original idea , this sappy ethnic sleeper proves that not only blockbusters pollute the summer movie pool . 
it sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations . 
ever see one of those comedies that just seem like a bad idea from frame one ? 
once ice-t sticks his mug in the window of the couple's bmw and begins haranguing the wife in bad stage dialogue , all credibility flies out the window . 
the best drug addition movies are usually depressing but rewarding . quitting , however , manages just to be depressing , as the lead actor phones in his autobiographical performance . 
it would be great to see this turd squashed under a truck , preferably a semi . 
in the end , all you can do is admire the ensemble players and wonder what the point of it is . 
for most movies , 84 minutes is short , but this one feels like a life sentence . 
while glover , the irrepressible eccentric of river's edge , dead man and back to the future , is perfect casting for the role , he represents bartleby's main overall flaw . 
something has been lost in the translation . . . another routine hollywood frightfest in which the slack execution italicizes the absurdity of the premise . 
shatner is probably the funniest person in the film , which gives you an idea just how bad it was . 
tries so hard to be quirky and funny that the strain is all too evident . 
as immaculate as stuart little 2 is , it could be a lot better if it were , well , more adventurous . 
simply a re-hash of the other seven films . 
with jump cuts , fast editing and lots of pyrotechnics , yu clearly hopes to camouflage how bad his movie is . he fails . 
i found myself more appreciative of what the director was trying to do than of what he had actually done . 
a very depressing movie of many missed opportunities . 
goes on and on to the point of nausea . 
by turns numbingly dull-witted and disquietingly creepy . 
boy , has this franchise ever run out of gas . 
one problem with the movie , directed by joel schumacher , is that it jams too many prefabricated story elements into the running time . 
the comedy is nonexistent . 
 . . . a bland , pretentious mess . 
it's a pedestrian , flat drama that screams out 'amateur' in almost every frame . 
a bland animated sequel that hardly seems worth the effort . 
it's not just the vampires that are damned in queen of the damned -- the viewers will feel they suffer the same fate . 
if religious films aren't your bailiwick , stay away . otherwise , this could be a passable date film . 
this is the case of a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience . 
the pace and the visuals are so hyped up that a curious sense of menace informs everything . 
stuffy , full of itself , morally ambiguous and nothing to shout about . 
it is most of the things costner movies are known for ; it's sanctimonious , self-righteous and so eager to earn our love that you want to slap it . 
don't let the subtitles fool you ; the movie only proves that hollywood no longer has a monopoly on mindless action . 
chai's structure and pacing are disconcertingly slack . 
to be oblivious to the existence of this film would be very sweet indeed . 
the director , with his fake backdrops and stately pacing , never settles on a consistent tone . 
one just waits grimly for the next shock without developing much attachment to the characters . 
instead of panoramic sweep , kapur gives us episodic choppiness , undermining the story's emotional thrust . 
the director seems to take an unseemly pleasure in [the characters'] misery and at the same time to congratulate himself for having the guts to confront it . 
this dubious product of a college-spawned ( colgate u . ) comedy ensemble known as broken lizard plays like a mix of cheech and chong and chips . 
the movie doesn't think much of its characters , its protagonist , or of us . 
super troopers is an odd amalgam of comedy genres , existing somewhere between the often literal riffs of early zucker brothers/abrahams films , and the decidedly foul stylings of their post-modern contemporaries , the farrelly brothers . 
 . . . will always be remembered for the 9-11 terrorist attacks . after seeing the film , i can tell you that there's no other reason why anyone should bother remembering it . 
made me feel uneasy , even queasy , because [solondz's] cool compassion is on the border of bemused contempt . 
as a kind of colorful , dramatized pbs program , frida gets the job done . but , for that , why not watch a documentary ? 
with minimal imagination , you could restage the whole thing in your bathtub . 
nights feels more like a quickie tv special than a feature film . . . it's not even a tv special you'd bother watching past the second commercial break . 
although . . . visually striking and slickly staged , it's also cold , grey , antiseptic and emotionally desiccated . 
you can see where big bad love is trying to go , but it never quite gets there . 
friday after next is the kind of film that could only be made by african-americans because of its broad racial insensitivity towards african-americans . 
it's not as awful as some of the recent hollywood trip tripe . . . but it's far from a groundbreaking endeavor . 
the only thing " swept away " is the one hour and thirty-three minutes spent watching this waste of time . 
one-sided documentary offers simplistic explanations to a very complex situation . . . . stylistically , the movie is a disaster . 
the corpse count ultimately overrides what little we learn along the way about vicarious redemption . 
as violent , profane and exploitative as the most offensive action flick you've ever seen . 
egoyan's work often elegantly considers various levels of reality and uses shifting points of view , but here he has constructed a film so labyrinthine that it defeats his larger purpose . 
life or something like it has its share of high points , but it misses too many opportunities . 
this is a truly , truly bad movie . 
despite bearing the paramount imprint , it's a bargain-basement european pickup . what's hard to understand is why anybody picked it up . wiser souls would have tactfully pretended not to see it and left it lying there
believability wasn't one of the film's virtues . 
sewer rats could watch this movie and be so skeeved out that they'd need a shower . 
the santa clause 2's plot may sound like it was co-written by mattel executives and lobbyists for the tinsel industry . 
his best film remains his shortest , the hole , which makes many of the points that this film does but feels less repetitive . 
just another disjointed , fairly predictable psychological thriller . 
 . . . stumbles over every cheap trick in the book trying to make the outrage come even easier . 
even the hastily and amateurishly drawn animation cannot engage . 
kung pow is oedekerk's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that . 
busy urban comedy is clearly not zhang's forte , his directorial touch is neither light nor magical enough to bring off this kind of whimsy . 
well-meaning but inert . 
not completely loveable -- but what underdog movie since the bad news bears has been ? -- but certainly hard to hate . 
a movie that can't get sufficient distance from leroy's delusions to escape their maudlin influence . 
it's young guns meets goodfellas in this easily skippable hayseeds-vs . -greaseballs mob action-comedy . 
louiso lets the movie dawdle in classic disaffected-indie-film mode , and brother hoffman's script stumbles over a late-inning twist that just doesn't make sense . 
the movie straddles the fence between escapism and social commentary , and on both sides it falls short . 
the film is old-fashioned , occasionally charming and as subtle as boldface . 
can't get enough of libidinous young city dwellers ? try this obscenely bad dark comedy , so crass that it makes edward burns' sidewalks of new york look like oscar wilde . 
in the new guy , even the bull gets recycled . 
 . . . overly melodramatic . . . 
largely , this is a movie that also does it by the numbers . 
on top of a foundering performance , [madonna's] denied her own athleticism by lighting that emphasizes every line and sag . 
the result is an 'action film' mired in stasis . 
this is the first full scale wwii flick from hong kong's john woo . he's not good with people . 
patchy combination of soap opera , low-tech magic realism and , at times , ploddingly sociological commentary . 
[stevens is] so stoked to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits . 
so boring that even its target audience talked all the way through it . 
one of the more glaring signs of this movie's servitude to its superstar is the way it skirts around any scenes that might have required genuine acting from ms . spears . 
hollywood ending is the most disappointing woody allen movie ever . he has a great cast and a great idea . but the execution is a flop with the exception of about six gags that really work . 
 . . . generically , forgettably pleasant from start to finish . 
it's just hard to believe that a life like this can sound so dull . 
when not wallowing in its characters' frustrations , the movie is busy contriving false , sitcom-worthy solutions to their problems . 
an overstylized , pured mlange of sex , psychology , drugs and philosophy . sometimes entertaining , sometimes indulgent -- but never less than pure wankery . 
'lovely and amazing , ' unhappily , is neither . . . excessively strained and contrived . 
ringu is a disaster of a story , full of holes and completely lacking in chills . ignore the reputation , and ignore the film . 
this one is a few bits funnier than malle's dud , if only because the cast is so engagingly messing around like slob city reductions of damon runyon crooks . 
'it's painful to watch witherspoon's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama . '
a plodding teen remake that's so mechanical you can smell the grease on the plot twists . 
trying to figure out the rules of the country bear universe -- when are bears bears and when are they like humans , only hairier -- would tax einstein's brain . 
even in terms of the low-grade cheese standards on which it operates , it never quite makes the grade as tawdry trash . 
amidst the action , the script carries arnold ( and the viewers ) into the forbidden zone of sympathizing with terrorist motivations by presenting the " other side of the story . " 
rife with nutty cliches and far too much dialogue . 
it's a 100-year old mystery that is constantly being interrupted by elizabeth hurley in a bathing suit . 
 . . . one big laugh , three or four mild giggles , and a whole lot of not much else . 
too intensely focused on the travails of being hal hartley to function as pastiche , no such thing is hartley's least accessible screed yet . 
kenneth branagh's energetic sweet-and-sour performance as a curmudgeonly british playwright grounds this overstuffed , erratic dramedy in which he and his improbably forbearing wife contend with craziness and child-rearing in los angeles . 
director uwe boll and writer robert dean klein fail to generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , cannot overcome blah characters . 
ms . phoenix is completely lacking in charm and charisma , and is unable to project either esther's initial anomie or her eventual awakening . 
the movie fails to portray its literarily talented and notorious subject as anything much more than a dirty old man . 
extremely bad . 
a clichd and shallow cautionary tale about the hard-partying lives of gay men . 
the fetid underbelly of fame has never looked uglier . 
a little weak -- and it isn't that funny . 
while it is welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion , lan yu never catches dramatic fire . 
the script boasts some tart tv-insider humor , but the film has not a trace of humanity or empathy . 
despite the pyrotechnics , narc is strictly by the book . 
in both the writing and cutting , it does not achieve the kind of dramatic unity that transports you . you end up simply admiring this bit or that , this performance or that . 
cacoyannis is perhaps too effective in creating an atmosphere of dust-caked stagnation and labored gentility . 
worth seeing once , but its charm quickly fades . 
the original wasn't a good movie but this remake makes it look like a masterpiece ! 
one suspects that craven endorses they simply because this movie makes his own look much better by comparison . 
gere gives a good performance in a film that doesn't merit it . 
your appreciation of it will depend on what experiences you bring to it and what associations you choose to make . 
includes too much obvious padding . 
there's no palpable chemistry between lopez and male lead ralph fiennes , plus the script by working girl scribe kevin wade is workmanlike in the extreme . 
i'm not sure which half of dragonfly is worse : the part where nothing's happening , or the part where something's happening , but it's stupid . 
don't expect any subtlety from this latest entry in the increasingly threadbare gross-out comedy cycle . 
the only camouflage carvey should now be considering is a paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers . 
shot like a postcard and overacted with all the boozy self-indulgence that brings out the worst in otherwise talented actors . . . 
spain's greatest star wattage doesn't overcome the tumult of maudlin tragedy . 
 . . . a movie that , quite simply , shouldn't have been made . 
conforms itself with creating a game of 'who's who' . . . where the characters' moves are often more predictable than their consequences . 
looks and feels like a low-budget hybrid of scarface or carlito's way . 
the script is a tired one , with few moments of joy rising above the stale material . 
suffers from all the excesses of the genre . 
the verdict : two bodies and hardly a laugh between them . 
the latest adam sandler assault and possibly the worst film of the year . 
downbeat , period-perfect biopic hammers home a heavy-handed moralistic message . 
while the film is competent , it's also uninspired , lacking the real talent and wit to elevate it beyond its formula to the level of classic romantic comedy to which it aspires . 
they ought to be a whole lot scarier than they are in this tepid genre offering . 
it's harmless , diverting fluff . but it's hard to imagine a more generic effort in the genre . 
it's just plain lurid when it isn't downright silly . 
comedy troupe broken lizard's first movie is very funny but too concerned with giving us a plot . 
pap invested in undergraduate doubling subtexts and ridiculous stabs at existentialism reminding of the discovery of the wizard of god in the fifth trek flick . 
a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness . 
it's a film with an idea buried somewhere inside its fabric , but never clearly seen or felt . 
'all in all , reign of fire will be a good ( successful ) rental . '
occasionally funny , sometimes inspiring , often boring . 
a movie in which two not very absorbing characters are engaged in a romance you can't wait to see end . 
the predominantly amateur cast is painful to watch , so stilted and unconvincing are the performances . 
who are 'they' ? well , they're 'they' . they're the unnamed , easily substitutable forces that serve as whatever terror the heroes of horror movies try to avoid . they exist for hushed lines like " they're back ! " , " they're out there ! " and " they're coming ! " 
elegantly crafted but emotionally cold , a puzzle whose intricate construction one can admire but is difficult to connect with on any deeper level . 
were dylan thomas alive to witness first-time director ethan hawke's strained chelsea walls , he might have been tempted to change his landmark poem to , 'do not go gentle into that good theatre . '
the story has its redundancies , and the young actors , not very experienced , are sometimes inexpressive . 
i'm sure the filmmaker would disagree , but , honestly , i don't see the point . it's a visual rorschach test and i must have failed . 
the film is really closer to porn than a serious critique of what's wrong with this increasingly pervasive aspect of gay culture . 
murder by numbers just doesn't add up . 
clare peploe's airless movie adaptation could use a little american pie-like irreverence . 
video games are more involving than this mess . 
clayburgh and tambor are charming performers ; neither of them deserves eric schaeffer . 
a pale xerox of other , better crime movies . 
 . . . a hokey piece of nonsense that tries too hard to be emotional . 
illiterate , often inert sci-fi action thriller . 
a perfect example of rancid , well-intentioned , but shamelessly manipulative movie making . 
the adventure doesn't contain half the excitement of balto , or quarter the fun of toy story 2 . 
essentially a collection of bits -- and they're all naughty . 
a mess . the screenplay does too much meandering , norton has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced , hopkins looks like a drag queen . 
the screenplay by james eric , james horton and director peter o'fallon . . . is so pat it makes your teeth hurt . 
before it takes a sudden turn and devolves into a bizarre sort of romantic comedy , steven shainberg's adaptation of mary gaitskill's harrowing short story . . . is a brilliantly played , deeply unsettling experience . 
solaris is rigid and evasive in ways that soderbergh's best films , " erin brockovich , " " out of sight " and " ocean's eleven , " never were . 
seems like something american and european gay movies were doing 20 years ago . 
in the process of trimming the movie to an expeditious 84 minutes , director roger kumble seems to have dumped a whole lot of plot in favor of . . . outrageous gags . 
you can see the would-be surprises coming a mile away , and the execution of these twists is delivered with a hammer . thumbs down . 
the characters are paper thin and the plot is so cliched and contrived that it makes your least favorite james bond movie seem as cleverly plotted as the usual suspects . 
 . . . del toro maintains a dark mood that makes the film seem like something to endure instead of enjoy . 
the movie eventually snaps under the strain of its plot contrivances and its need to reassure . 
the real question this movie poses is not 'who ? ' but 'why ? '
now here's a sadistic bike flick that would have made vittorio de sica proud . 
a movie that's about as overbearing and over-the-top as the family it depicts . 
a movie in which laughter and self-exploitation merge into jolly soft-porn 'empowerment . '
occasionally interesting but essentially unpersuasive , a footnote to a still evolving story . 
if we're to slap protagonist genevieve leplouff because she's french , do we have that same option to slap her creators because they're clueless and inept ? 
moretti plays giovanni , a psychiatrist who predictably finds it difficult to sustain interest in his profession after the family tragedy . too predictably , in fact . 
alternative medicine obviously has its merits . . . but ayurveda does the field no favors . 
this thing works on no level whatsoever for me . 
it follows the basic plot trajectory of nearly every schwarzenegger film : someone crosses arnie . arnie blows things up . 
ice age posits a heretofore unfathomable question : is it possible for computer-generated characters to go through the motions ? 
an incoherent jumble of a film that's rarely as entertaining as it could have been . 
 . . . they missed the boat . 
more dutiful than enchanting . . . terribly episodic and lacking the spark of imagination that might have made it an exhilarating treat . 
laconic and very stilted in its dialogue , this indie flick never found its audience , probably because it's extremely hard to relate to any of the characters . 
the comedy death to smoochy is a rancorous curiosity : a movie without an apparent audience . 
barney's ideas about creation and identity don't really seem all that profound , at least by way of what can be gleaned from this three-hour endurance test built around an hour's worth of actual material . 
affleck merely creates an outline for a role he still needs to grow into , a role that ford effortlessly filled with authority . 
cinematic pyrotechnics aside , the only thing avary seems to care about are mean giggles and pulchritude . it makes sense that he went back to school to check out the girls -- his film is a frat boy's idea of a good time . 
the narrative is so consistently unimaginative that probably the only way to have saved the film is with the aid of those wisecracking mystery science theater 3000 guys . 
nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows . 
a living testament to the power of the eccentric and the strange . the fact that it isn't very good is almost beside the point . 
feels less like a cousin to blade runner than like a bottom-feeder sequel in the escape from new york series . 
what might have been acceptable on the printed page of iles' book does not translate well to the screen . 
if oscar had a category called best bad film you thought was going to be really awful but wasn't , guys would probably be duking it out with the queen of the damned for the honor . 
a poky and pseudo-serious exercise in sham actor workshops and an affected malaise . 
mediocre fable from burkina faso . 
fessenden has nurtured his metaphors at the expense of his narrative , but he does display an original talent . 
since the movie is based on a nicholas sparks best seller , you know death is lurking around the corner , just waiting to spoil things . 
bottom-rung new jack city wannabe . 
fincher takes no apparent joy in making movies , and he gives none to the audience . 
it's mildly amusing , but i certainly can't recommend it . 
nicholas nickleby celebrates the human spirit with such unrelenting dickensian decency that it turned me ( horrors ! ) into scrooge . 
fear dot com is more frustrating than a modem that disconnects every 10 seconds . 
full of flatulence jokes and mild sexual references , kung pow ! is the kind of movie that's critic-proof , simply because it aims so low . 
may cause you to bite your tongue to keep from laughing at the ridiculous dialog or the oh-so convenient plot twists . 
there are just too many characters saying too many clever things and getting into too many pointless situations . where's the movie here ? 
a dark , dull thriller with a parting shot that misfires . 
lacking substance and soul , crossroads comes up shorter than britney's cutoffs . 
cassavetes thinks he's making dog day afternoon with a cause , but all he's done is to reduce everything he touches to a shrill , didactic cartoon . 
buries an interesting storyline about morality and the choices we make underneath such a mountain of clichs and borrowed images that it might more accurately be titled mr . chips off the old block . 
although sensitive to a fault , it's often overwritten , with a surfeit of weighty revelations , flowery dialogue , and nostalgia for the past and roads not taken . 
it's so badly made on every level that i'm actually having a hard time believing people were paid to make it . 
without non-stop techno or the existential overtones of a kieslowski morality tale , maelstrm is just another winter sleepers . 
nicks , seemingly uncertain what's going to make people laugh , runs the gamut from stale parody to raunchy sex gags to formula romantic comedy . 
'a' for creativity but comes across more as a sketch for a full-length comedy . 
if there's one thing this world needs less of , it's movies about college that are written and directed by people who couldn't pass an entrance exam . 
the script kicks in , and mr . hartley's distended pace and foot-dragging rhythms follow . 
[e]ventually , every idea in this film is flushed down the latrine of heroism . 
i am sorry that i was unable to get the full brunt of the comedy . 
no telegraphing is too obvious or simplistic for this movie . 
looks and feels like a project better suited for the small screen . 
in its best moments , resembles a bad high school production of grease , without benefit of song . 
indifferently implausible popcorn programmer of a movie . 
it's inoffensive , cheerful , built to inspire the young people , set to an unending soundtrack of beach party pop numbers and aside from its remarkable camerawork and awesome scenery , it's about as exciting as a sunburn . 
his comedy premises are often hackneyed or just plain crude , calculated to provoke shocked laughter , without following up on a deeper level . 
christina ricci comedy about sympathy , hypocrisy and love is a misfire . 
at times , the suspense is palpable , but by the end there's a sense that the crux of the mystery hinges on a technicality that strains credulity and leaves the viewer haunted by the waste of potential . 
they should have called it gutterball . 
thekids will probably stay amused at the kaleidoscope of big , colorful characters . mom and dad can catch some quality naptime along the way . 
it's too self-important and plodding to be funny , and too clipped and abbreviated to be an epic . 
the best that can be said about the work here of scottish director ritchie . . . is that he obviously doesn't have his heart in it . 
less dizzying than just dizzy , the jaunt is practically over before it begins . 
slick piece of cross-promotion . 
taylor appears to have blown his entire budget on soundtrack rights and had nothing left over for jokes . 
it believes it's revealing some great human truths , when , in reality , it's churning ground that has long passed the point of being fertile . 
by turns pretentious , fascinating , ludicrous , provocative and vainglorious . 
it all drags on so interminably it's like watching a miserable relationship unfold in real time . 
villeneuve spends too much time wallowing in bibi's generic angst ( there are a lot of shots of her gazing out windows ) . 
[t]here's only so much anyone can do with a florid , overplotted , anne rice rock 'n' roll vampire novel before the built-in silliness of the whole affair defeats them . 
it's another video movie photographed like a film , with the bad lighting that's often written off as indie film naturalism . 
the techno tux is good for a few laughs , as are chan and hewitt , but when such a good design turns out to be a cheap knockoff , we can't recommend anything but a rental for the tuxedo . 
i got a headache watching this meaningless downer . 
apart from dazzling cinematography , we've seen just about everything in blue crush in one form or the other . 
too much of the humor falls flat . 
detox is ultimately a pointless endeavor . 
van wilder doesn't bring anything new to the proverbial table , but it does possess a coherence absent in recent crass-a-thons like tomcats , freddy got fingered , and slackers . 
the piquant story needs more dramatic meat on its bones . 
very special effects , brilliantly bold colors and heightened reality can't hide the giant achilles' heel in " stuart little 2 " : there's just no story , folks . 
the plot combines the blues brothers and almost famous ( but with bears , and a g rating ) , with an excruciating dollop of disney sentimentality mixed in for good measure . 
no way i can believe this load of junk . 
 " roger michell ( " notting hill " ) directs a morality thriller . " 
it's dumb , but more importantly , it's just not scary . 
there is no pleasure in watching a child suffer . just embarrassment and a vague sense of shame . 
the movie's accumulated force still feels like an ugly knot tightening in your stomach . but is that knot from dramatic tension or a symptom of artistic malnutrition ? 
even with a green mohawk and a sheet of fire-red flame tattoos covering his shoulder , however , kilmer seems to be posing , rather than acting . and that leaves a hole in the center of the salton sea . 
there's just no currency in deriding james bond for being a clichd , doddering , misogynistic boy's club . 
when the film ended , i felt tired and drained and wanted to lie on my own deathbed for a while . 
full of witless jokes , dealing in broad stereotypes and outrageously unbelievable scenarios , and saddled with a general air of misogyny
the film's hackneyed message is not helped by the thin characterizations , nonexistent plot and pretentious visual style . 
the iditarod lasts for days - this just felt like it did . 
 it feels like an after-school special gussied up with some fancy special effects , and watching its rote plot points connect is about as exciting as gazing at an egg timer for 93 minutes . 
this movie is maddening . it conveys a simple message in a visual style that is willfully overwrought . 
should have been someone else-
the film is based on truth and yet there is something about it that feels incomplete , as if the real story starts just around the corner . 
why make a documentary about these marginal historical figures ? wouldn't one about their famous dad , author of death in venice , etc . , be more valuable ? 
the lower your expectations , the more you'll enjoy it . 
rarely has leukemia looked so shimmering and benign . 
 is an arthritic attempt at directing by callie khouri . i had to look away - this was god awful . 
even in this less-than-magic kingdom , reese rules . 
velocity represents everything wrong with ''independent film'' as a commodified , sold-out concept on the american filmmaking scene . 
just one bad idea after another . 
because of an unnecessary and clumsy last scene , 'swimfan' left me with a very bad feeling . 
though moonlight mile is replete with acclaimed actors and actresses and tackles a subject that's potentially moving , the movie is too predictable and too self-conscious to reach a level of high drama . 
a movie that hovers somewhere between an acute character study and a trite power struggle . 
i can't recommend it . but it's surprisingly harmless . 
corpus collosum -- while undeniably interesting -- wore out its welcome well before the end credits rolled about 45 minutes in . 
the last 20 minutes are somewhat redeeming , but most of the movie is the same teenage american road-trip drek we've seen before - only this time you have to read the fart jokes
it's hard to like a film about a guy who is utterly unlikeable , and shiner , starring michael caine as an aging british boxing promoter desperate for a taste of fame and fortune , is certainly that . 
a by-the-numbers effort that won't do much to enhance the franchise . 
involves two mysteries -- one it gives away and the other featuring such badly drawn characters that its outcome hardly matters . 
overall the film feels like a low-budget tv pilot that could not find a buyer to play it on the tube . 
it's of the quality of a lesser harrison ford movie - six days , seven nights , maybe , or that dreadful sabrina remake . 
it appears that something has been lost in the translation to the screen . 
despite all evidence to the contrary , this clunker has somehow managed to pose as an actual feature movie , the kind that charges full admission and gets hyped on tv and purports to amuse small children and ostensible adults . 
shrewd but pointless . 
an unclassifiably awful study in self- and audience-abuse . 
sluggish , tonally uneven . 
this movie is something of an impostor itself , stretching and padding its material in a blur of dead ends and distracting camera work . 
hey arnold ! the movie could have been made 40 years ago , and parents' appreciation of it may depend on whether they consider that a good thing . 
this one is definitely one to skip , even for horror movie fanatics . 
excessive , profane , packed with cartoonish violence and comic-strip characters . 
once the 50 year old benigni appears as the title character , we find ourselves longing for the block of wood to come back . 
a working class " us vs . them " opera that leaves no heartstring untugged and no liberal cause unplundered . 
if the movie succeeds in instilling a wary sense of 'there but for the grace of god , ' it is far too self-conscious to draw you deeply into its world . 
there are simply too many ideas floating around -- part farce , part sliding doors , part pop video -- and yet failing to exploit them . 
it takes a strange kind of laziness to waste the talents of robert forster , anne meara , eugene levy , and reginald veljohnson all in the same movie . 
we haven't seen such hilarity since say it isn't so ! 
expect the same-old , lame-old slasher nonsense , just with different scenery . 
the cold turkey would've been a far better title . 
the idea of 49-year-old roberto benigni playing the wooden boy pinocchio is scary enough . the reality of the new live-action pinocchio he directed , cowrote and starred in borders on the grotesque . 
the ga-zillionth airhead movie about a wife in distress who resorts to desperate measures . 
zaidan's script has barely enough plot to string the stunts together and not quite enough characterization to keep the faces straight . 
try as i may , i can't think of a single good reason to see this movie , even though everyone in my group extemporaneously shouted , 'thank you ! ' when leguizamo finally plugged an irritating character late in the movie . 
while it's nice to watch a movie that hasn't been focus-grouped into tedium , yu's cinematic alchemy produces nearly as much lead as gold . 
it treats women like idiots . 
though catch me if you can isn't badly made , the fun slowly leaks out of the movie . 
just an average comedic dateflick but not a waste of time . 
a valueless kiddie paean to pro basketball underwritten by the nba . 
impostor has a handful of thrilling moments and a couple of good performances , but the movie doesn't quite fly . for starters , the story is just too slim . 
so much facile technique , such cute ideas , so little movie . 
the experience of going to a film festival is a rewarding one ; the experiencing of sampling one through this movie is not . 
the film takes the materials of human tragedy and dresses them in lovely costumes , southern california locations and star power . 
it has its moments of swaggering camaraderie , but more often just feels generic , derivative and done to death . 
almost gags on its own gore . 
how do you spell clich ? 
it's sweet , harmless , dumb , occasionally funny and about as compelling as a fishing show . 
the moviegoing equivalent of going to a dinner party and being forced to watch the host and hostess's home video of their baby's birth . 
while [hill] has learned new tricks , the tricks alone are not enough to salvage this lifeless boxing film . 
in the real world , an actor this uncharismatically beautiful would have a rsum loaded with credits like " girl in bar #3 . " 
too much of it feels unfocused and underdeveloped . 
under 15 ? a giggle a minute . over age 15 ? big fat waste of time . 
hey arnold ! the movie is what happens when you blow up small potatoes to 10 times their natural size , and it ain't pretty . 
sometimes seems less like storytelling than something the otherwise compelling director needed to get off his chest . 
this is not the undisputed worst boxing movie ever , but it's certainly not a champion - the big loser is the audience . 
you really have to wonder how on earth anyone , anywhere could have thought they'd make audiences guffaw with a script as utterly diabolical as this . 
in the end , we are left with something like two ships passing in the night rather than any insights into gay love , chinese society or the price one pays for being dishonest . 
chokes on its own depiction of upper-crust decorum . 
well-nigh unendurable . . . though the picture strains to become cinematic poetry , it remains depressingly prosaic and dull . 
i thought my own watch had stopped keeping time as i slogged my way through clockstoppers . 
while much of the cast has charm -- especially allodi and nolden -- the performers are sunk by the film's primitive approach to the mechanics of comedy . 
this directorial debut from music video show-off higuchinsky is all flash . 
yes , ballistic is silly . unfortunately , it's not silly fun unless you enjoy really bad movies . 
the twist that ends the movie is the one with the most emotional resonance , but twists are getting irritating , and this is the kind of material where the filmmakers should be very careful about raising eyebrows . 
the longer the movie goes , the worse it gets , but it's actually pretty good in the first few minutes . 
while it's genuinely cool to hear characters talk about early rap records ( sugar hill gang , etc . ) , the constant referencing of hip-hop arcana can alienate even the savviest audiences . 
not only unfunny , but downright repellent . 
care deftly captures the wonder and menace of growing up , but he never really embraces the joy of fuhrman's destructive escapism or the grace-in-rebellion found by his characters . 
forced , familiar and thoroughly condescending . 
does little more than play an innocuous game of fill-in- the-blanks with a tragic past . 
k-19 exploits our substantial collective fear of nuclear holocaust to generate cheap hollywood tension . 
has a long and clunky ending . . . which forces the audience to fidget through ten pseudo-serious minutes while waiting for the ending credits and the deleted scenes montage to break the audience's awkward silence
a ragbag of promising ideas and failed narrative , of good acting and plain old bad filmmaking . 
whaley's determination to immerse you in sheer , unrelenting wretchedness is exhausting . 
uncommonly stylish but equally silly . . . the picture fails to generate much suspense , nor does it ask searching enough questions to justify its pretensions . 
the entire movie is about a boring , sad man being boring and sad . 
the plot convolutions ultimately add up to nothing more than jerking the audience's chain . 
confirms the nagging suspicion that ethan hawke would be even worse behind the camera than he is in front of it . 
made with no discernible craft and monstrously sanctimonious in dealing with childhood loss . 
it's a trifle of a movie , with a few laughs surrounding an unremarkable soft center . 
holden caulfield did it better . 
a synthesis of cliches and absurdities that seems positively decadent in its cinematic flash and emptiness . 
oh come on . like you couldn't smell this turkey rotting from miles away . 
if it's seldom boring , well , it's also rarely coherent . 
simplistic fluff-ball of whimsy . 
not exactly the bees knees
it does nothing new with the old story , except to show fisticuffs in this sort of stop-go slow motion that makes the gang rumbles look like they're being streamed over a 28k modem . 
the kind of spectacularly misconceived enterprise that only a sophisticated cinephile could have perpetrated . 
makes for some truly odd , at times confusing , kids entertainment . . . but at least this time there's some centered storytelling to go along with all the weird stuff . 
the film contains no good jokes , no good scenes , barely a moment when carvey's saturday night live-honed mimicry rises above the level of embarrassment . 
jacquot's rendering of puccini's tale of devotion and double-cross is more than just a filmed opera . in his first stab at the form , jacquot takes a slightly anarchic approach that works only sporadically . 
chabrol has taken promising material for a black comedy and turned it instead into a somber chamber drama . 
it's as if you're watching a movie that was made in 1978 but not released then because it was so weak , and it has been unearthed and released now , when it has become even weaker . 
this is nothing but familiar territory . 
in execution , this clever idea is far less funny than the original , killers from space . 
one of the more irritating cartoons you will see this , or any , year . 
a broad , melodramatic estrogen opera that's pretty toxic in its own right . 
too slow , too long and too little happens . 
the film's few ideas are stretched to the point of evaporation ; the whole central section is one big chase that seems to have no goal and no urgency . it's just filler . 
sacrifices the value of its wealth of archival foot-age with its less-than-objective stance . 
utterly lacking in charm , wit and invention , roberto benigni's pinocchio is an astonishingly bad film . 
a hamfisted romantic comedy that makes our girl the hapless facilitator of an extended cheap shot across the mason-dixon line . 
scores no points for originality , wit , or intelligence . it's a cookie-cutter movie , a cut-and-paste job . 
they takes a long time to get to its gasp-inducing ending . 
barely gets off the ground . 
even on those rare occasions when the narrator stops yammering , miller's hand often feels unsure . 
pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r . abrams , in their feature debut . 
at its best , queen is campy fun like the vincent price horror classics of the '60s . at its worst , it implodes in a series of very bad special effects . 
from the opening scenes , it's clear that all about the benjamins is a totally formulaic movie . 
it takes a certain kind of horror movie to qualify as 'worse than expected , ' but ghost ship somehow manages to do exactly that . 
on the bright side , it contains jesse ventura's best work since the xfl . 
despite impeccable acting . . . and a script that takes some rather unexpected ( even , at times , preposterous ) turns , love is just too , too precious in the end . 
a tv style murder mystery with a few big screen moments ( including one that seems to be made for a different film altogether ) . 
by getting myself wrapped up in the visuals and eccentricities of many of the characters , i found myself confused when it came time to get to the heart of the movie . 
too often , the viewer isn't reacting to humor so much as they are wincing back in repugnance . 
what's next ? the porky's revenge : ultimate edition ? 
dilbert without the right-on satiric humor . 
manages to show life in all of its banality when the intention is quite the opposite . 
do not see this film . 
minority report is exactly what the title indicates , a report . 
delivers the same old same old , tarted up with latin flava and turned out by hollywood playas . 
if you believe any of this , i can make you a real deal on leftover enron stock that will double in value a week from friday . 
to call the other side of heaven " appalling " would be to underestimate just how dangerous entertainments like it can be . 
in exactly 89 minutes , most of which passed as slowly as if i'd been sitting naked on an igloo , formula 51 sank from quirky to jerky to utter turkey . 
if only the story about a multi-million dollar con bothered to include the con . 
i'd have to say the star and director are the big problems here . 
without the dark spookiness of crystal lake camp , the horror concept completely loses its creepy menace . 
it's like every bad idea that's ever gone into an after-school special compiled in one place , minus those daytime programs' slickness and sophistication ( and who knew they even had any ? ) . 
while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these . 
for close to two hours the audience is forced to endure three terminally depressed , mostly inarticulate , hyper dysfunctional families for the price of one . 
to my taste , the film's comic characters come perilously close to being amoses and andys for a new generation . 
what the director can&#8217 ; t do is make either of val kilmer&#8217 ; s two personas interesting or worth caring about . 
in an effort , i suspect , not to offend by appearing either too serious or too lighthearted , it offends by just being wishy-washy . 
it's difficult to imagine the process that produced such a script , but here's guessing that spray cheese and underarm noises played a crucial role . 
harland williams is so funny in drag he should consider permanent sex-reassignment . 
 . . . nothing scary here except for some awful acting and lame special effects . 
it's not that kung pow isn't funny some of the time -- it just isn't any funnier than bad martial arts movies are all by themselves , without all oedekerk's impish augmentation . 
a very long movie , dull in stretches , with entirely too much focus on meal preparation and igloo construction . 
not an objectionable or dull film ; it merely lacks everything except good intentions . 
a science-fiction pastiche so lacking in originality that if you stripped away its inspirations there would be precious little left . 
once [kim] begins to overplay the shock tactics and bait-and-tackle metaphors , you may decide it's too high a price to pay for a shimmering picture postcard . 
the words , 'frankly , my dear , i don't give a damn , ' have never been more appropriate . 
what's next : " my mother the car ? " 
all the amped-up tony hawk-style stunts and thrashing rap-metal can't disguise the fact that , really , we've been here , done that . 
a sequel that's much too big for its britches . 
so unremittingly awful that labeling it a dog probably constitutes cruelty to canines . 
what was once original has been co-opted so frequently that it now seems pedestrian . 
a perplexing example of promise unfulfilled , despite many charming moments . 
for all the writhing and wailing , tears , rage and opium overdoses , there's no sense of actual passion being washed away in love's dissolution . 
a coarse and stupid gross-out . 
a nightmare date with a half-formed wit done a great disservice by a lack of critical distance and a sad trust in liberal arts college bumper sticker platitudes . 
doesn't offer much besides glib soullessness , raunchy language and a series of brutal set pieces . . . that raise the bar on stylized screen violence . 
there's something with potential here , but the movie decides , like lavinia , to go the conservative route . 
it's one pussy-ass world when even killer-thrillers revolve around group therapy sessions . 
the stripped-down approach does give the film a certain timeless quality , but the measured pace and lack of dramatic inflection can also seem tedious . 
but the power of these [subjects] is obscured by the majority of the film that shows a stationary camera on a subject that could be mistaken for giving a public oration , rather than contributing to a film's narrative . 
rarely has so much money delivered so little entertainment . 
tries to add some spice to its quirky sentiments but the taste is all too familiar . 
paid in full is so stale , in fact , that its most vibrant scene is one that uses clips from brian de palma's scarface . that's a cheat . 
harrison's flowers puts its heart in the right place , but its brains are in no particular place at all . 
this re-do is so dumb and so exploitative in its violence that , ironically , it becomes everything that the rather clumsy original was railing against . 
a string of rehashed sight gags based in insipid vulgarity . 
the movie is dawn of the dead crossed with john carpenter's ghosts of mars , with zombies not as ghoulish as the first and trains not as big as the second . 
basically a static series of semi-improvised ( and semi-coherent ) raps between the stars . 
too restrained to be a freak show , too mercenary and obvious to be cerebral , too dull and pretentious to be engaging . . . the isle defies an easy categorization . 
an unpredictable blend of gal-pal smart talk , romantic comedy and dark tragedy that bites off considerably more than writer/director john mckay can swallow . 
it's one of those baseball pictures where the hero is stoic , the wife is patient , the kids are as cute as all get-out and the odds against success are long enough to intimidate , but short enough to make a dream seem possible . 
 " the time machine " is a movie that has no interest in itself . it doesn't believe in itself , it has no sense of humorit's just plain bored . 
 . . . a hollow joke told by a cinematic gymnast having too much fun embellishing the misanthropic tale to actually engage it . 
a morose little soap opera about three vapid , insensitive people who take turns hurting each other . it's a feature-length adaptation of one of those " can this marriage be saved ? " columns from ladies home journal . . . 
the film's essentially over by the meet-cute . 
i'm sure if you're a hartley fan , you might enjoy yourself . . . me , i didn't care for it . 
it's about following your dreams , no matter what your parents think . socrates motions for hemlock . 
the script isn't very good ; not even someone as gifted as hoffman ( the actor ) can make it work . 
walter hill's pulpy , stylized boxing melodrama undisputed nearly overcomes its questionable in-the-ring match-up with solid fight choreography and gritty prison authenticity . 
it has all the excitement of eating oatmeal . 
it's hard to know whether or not to recommend this film because for every thing it does right there's at least one and occasionally two things it gets ever so wrong . 
although there are several truly jolting scares , there's also an abundance of hackneyed dialogue and more silly satanic business than you can shake a severed limb at . 
i'll bet the video game is a lot more fun than the film . 
star trek : nemesis meekly goes where nearly every star trek movie has gone before . wince-inducing dialogue , thrift-shop costumes , prosthetic makeup by silly putty and kmart blue-light-special effects all conspire to test trekkie lo