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this is cruel , misanthropic stuff with only weak claims to surrealism and black comedy .

no amount of nostalgia for carvey's glory days can disguise the fact that the new film is a lame kiddie flick and that carvey's considerable talents are wasted in it .

best described as i know what you did last winter .

[taylor] takes us on a ride that's consistently surprising , easy to watch -- but , oh , so dumb .

it's difficult for a longtime admirer of his work to not be swept up in invincible and overlook its drawbacks .

lazily directed by charles stone iii . . . from a leaden script by matthew cirulnick and novelist thulani davis .

though jones and snipes are enthralling , the movie bogs down in rhetoric and cliché .

the most remarkable ( and frustrating ) thing about world traveler , which opens today in manhattan , is that its protagonist , after being an object of intense scrutiny for 104 minutes , remains a complete blank .

an artsploitation movie with too much exploitation and too little art .

the pacing is often way off and there are too many bona fide groaners among too few laughs .

with lines that feel like long soliloquies -- even as they are being framed in conversation -- max is static , stilted .

barely manages for but a few seconds over its seemingly eternal running time to pique your interest , your imagination , your empathy or anything , really , save your disgust and your indifference .

writer/director burr steers emphasizes the q in quirky , with mixed results .

one senses in world traveler and in his earlier film that freundlich bears a grievous but obscure complaint against fathers , and circles it obsessively , without making contact .

in between the icy stunts , the actors spout hilarious dialogue about following your dream and 'just letting the mountain tell you what to do . '

the obligatory break-ups and hook-ups don't seem to have much emotional impact on the characters .

make no mistake , ivans xtc . is a mess .

hypnotically dull , relentlessly downbeat , laughably predictable wail pitched to the cadence of a depressed fifteen-year-old's suicidal poetry .

the concept is a hoot . the trailer is a riot . the movie is a dud .

it's a boring movie about a boring man , made watchable by a bravura performance from a consummate actor incapable of being boring .

because the intelligence level of the characters must be low , very low , very very low , for the masquerade to work , the movie contains no wit , only labored gags .

it's hard to imagine another director ever making his wife look so bad in a major movie .

some stunning visuals -- and some staggeringly boring cinema .

these characters become wearisome .

a hit- and-miss affair , consistently amusing but not as outrageous or funny as cho may have intended or as imaginative as one might have hoped .

this may be the first cartoon ever to look as if it were being shown on the projection television screen of a sports bar .

kim ki-deok seems to have in mind an ( emotionally at least ) adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested .

a sterling film - a cross between boys don't cry , deliverance , and ode to billy joe - lies somewhere in the story of matthew shepard , but that film is yet to be made .

after sitting through this sloppy , made-for-movie comedy special , it makes me wonder if lawrence hates criticism so much that he refuses to evaluate his own work .

contrived pastiche of caper clichés .

many shallower movies these days seem too long , but this one is egregiously short .

just a kiss wants desperately to come off as a fanciful film about the typical problems of average people . but it is set in a world that is very , very far from the one most of us inhabit .

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

like shave ice without the topping , this cinematic snow cone is as innocuous as it is flavorless .

despite its sincere acting , signs is just another unoriginal run of the mill sci-fi film with a flimsy ending and lots of hype .

yet another movie which presumes that high school social groups are at war , let alone conscious of each other's existence .

loud , chaotic and largely unfunny .

i can't remember the last time i saw an audience laugh so much during a movie , but there's only one problem…it's supposed to be a drama .

qualities that were once amusing are becoming irritating .

well , jason's gone to manhattan and hell , i guess a space station in the year 2455 can be crossed off the list of ideas for the inevitable future sequels ( hey , don't shoot the messenger ) .

donovan . . . squanders his main asset , jackie chan , and fumbles the vital action sequences .

there is no psychology here , and no real narrative logic -- just a series of carefully choreographed atrocities , which become strangely impersonal and abstract .

bread , my sweet has so many flaws it would be easy for critics to shred it . it may even fall into the category of films you love to hate . i admit it , i hate to like it .

frida is certainly no disaster , but neither is it the kahlo movie frida fans have been looking for .

leaks treacle from every pore .

the characters are so generic and the plot so bland that even as rogue cia assassins working for chris cooper's agency boss close in on the resourceful amnesiac , we don't feel much for damon/bourne or his predicament .

kapur weighs down the tale with bogus profundities .

while we want macdowell's character to retrieve her husband , we have to ask whether her personal odyssey trumps the carnage that claims so many lives around her .

blue crush is as predictable as the tides . . . . the movie feels stitched together from stock situations and characters from other movies .

if you enjoy being rewarded by a script that assumes you aren't very bright , then blood work is for you .

trouble every day is a success in some sense , but it's hard to like a film so cold and dead .

the film's stagecrafts are intimate and therefore bolder than the otherwise calculated artifice that defines and overwhelms the film's production design .

a well-intentioned effort that's still too burdened by the actor's offbeat sensibilities for the earnest emotional core to emerge with any degree of accessibility .

a family-friendly fantasy that ends up doing very little with its imaginative premise .

a plodding look at the french revolution through the eyes of aristocrats .

tom shadyac has learned a bit more craft since directing adams , but he still lingers over every point until the slowest viewer grasps it .

unspools like a highbrow , low-key , 102-minute infomercial , blending entrepreneurial zeal with the testimony of satisfied customers .

a fast-paced , glitzy but extremely silly piece .

any reasonably creative eighth-grader could have written a more credible script , though with the same number of continuity errors .

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

your taste for jonah - a veggie tales movie may well depend on your threshold for pop manifestations of the holy spirit .

like an afterschool special with costumes by gianni versace , mad love looks better than it feels .

while certain cues , like the happy music , suggest that this movie is supposed to warm our hearts , jeong-hyang lee's film is just as likely to blacken that organ with cold vengefulness .

the script , the gags , the characters are all direct-to-video stuff , and that's where this film should have remained .

a thriller without thrills and a mystery devoid of urgent questions .

a collage of clichés and a dim echo of allusions to other films .

the film is hampered by its predictable plot and paper-thin supporting characters .

arty gay film .

jonah is only so-so . . . the addition of a biblical message will either improve the film for you , or it will lessen it .

an excruciating demonstration of the unsalvageability of a movie saddled with an amateurish screenplay .

how many more times will indie filmmakers subject us to boring , self-important stories of how horrible we are to ourselves and each other ?

there are some laughs in this movie , but williams' anarchy gets tiresome , the satire is weak .

as steamy as last week's pork dumplings .

incoherence reigns .

the somber pacing and lack of dramatic fireworks make green dragon seem more like medicine than entertainment .

the filmmakers needed more emphasis on the storytelling and less on the glamorous machine that thrusts the audience into a future they won't much care about .

another wholly unnecessary addition to the growing , moldering pile of , well , extreme stunt pictures .

this strenuously unfunny showtime deserves the hook .

the whole thing's fairly lame , making it par for the course for disney sequels .

its solemn pretension prevents us from sharing the awe in which it holds itself .

. . . the good and different idea [of middle-aged romance] is not handled well and , except for the fine star performances , there is little else to recommend " never again . "

if disney's cinderella proved that 'a dream is a wish your heart makes , ' then cinderella ii proves that a nightmare is a wish a studio's wallet makes .

features nonsensical and laughable plotting , wooden performances , ineptly directed action sequences and some of the worst dialogue in recent memory .

with rare birds , as with the shipping news before it , an attempt is made to transplant a hollywood star into newfoundland's wild soil -- and the rock once again resists the intrusion .

nothing about this movie works .

if the idea of the white man arriving on foreign shores to show wary natives the true light is abhorrent to you , the simplistic heaven will quite likely be more like hell .

a spooky yarn of demonic doings on the high seas that works better the less the brain is engaged .

none of birthday girl's calculated events take us by surprise . . .

are monsters born , or made ?

lisa rinzler's cinematography may be lovely , but love liza's tale itself virtually collapses into an inhalant blackout , maintaining consciousness just long enough to achieve callow pretension .

the narrator and the other characters try to convince us that acting transfigures esther , but she's never seen speaking on stage ; one feels cheated , and esther seems to remain an unchanged dullard .

it's exactly the kind of movie toback's detractors always accuse him of making .

with the dog days of august upon us , think of this dog of a movie as the cinematic equivalent of high humidity .

less about shakespeare than the spawn of fools who saw quentin tarantino's handful of raucous gangster films and branched out into their own pseudo-witty copycat interpretations .

the film is like sitting in a downtown café , overhearing a bunch of typical late-twenty-somethings natter on about nothing , and desperately wishing you could change tables .

this rather unfocused , all-over-the-map movie would be a lot better if it pared down its plots and characters to a few rather than dozens . . . or if it were subtler . . . or if it had a sense of humor .

takes a clunky tv-movie approach to detailing a chapter in the life of the celebrated irish playwright , poet and drinker .

not only does the thoroughly formulaic film represent totally exemplify middle-of-the-road mainstream , it also represents glossy hollywood at its laziest .

a shame that stealing harvard is too busy getting in its own way to be anything but frustrating , boring , and forgettable .

nearly every attempt at humor here is doa .