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lush and beautifully photographed ( somebody suggested the stills might make a nice coffee table book ) , but ultimately you'll leave the theater wondering why these people mattered .

unfortunately , one hour photo lives down to its title . thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film .

cold , sterile and lacking any color or warmth .

the film is undone by anachronistic quick edits and occasional jarring glimpses of a modern theater audience watching the events unfold .

seems like someone going through the motions .

for a film about explosions and death and spies , " ballistic : ecks vs . sever " seems as safe as a children's film . well , in some of those , the mother deer even dies .

wallace gets a bit heavy handed with his message at times , and has a visual flair that waxes poetic far too much for our taste .

impostor doesn't do much with its template , despite a remarkably strong cast .

wraps itself in the guise of a dark and quirky comedy , but it isn't as quirky as it thinks it is and its comedy is generally mean-spirited .

choppy , overlong documentary about 'the lifestyle . '

one sloughs one's way through the mire of this alleged psychological thriller in search of purpose or even a plot .

a film which presses familiar herzog tropes into the service of a limpid and conventional historical fiction , when really what we demand of the director is to be mesmerised .

it's a fanboy 'what if ? ' brought to life on the big screen .

the story itself is actually quite vapid .

it's a hellish , numbing experience to watch , and it doesn't offer any insights that haven't been thoroughly debated in the media already , back in the dahmer heyday of the mid-'90s .

wait for pay per view or rental but don't dismiss barbershop out of hand .

a few zingers aside , the writing is indifferent , and jordan brady's direction is prosaic .

each scene drags , underscoring the obvious , and sentiment is slathered on top .

would've been nice if the screenwriters had trusted audiences to understand a complex story , and left off the film's predictable denouement . then nadia's birthday might not have been such a bad day after all .

one of those staggeringly well-produced , joylessly extravagant pictures that keep whooshing you from one visual marvel to the next , hastily , emptily .

nair just doesn't have the necessary self-control to guide a loose , poorly structured film through the pitfalls of incoherence and redundancy .

enthusiastically taking up the current teen movie concern with bodily functions , walt becker's film pushes all the demographically appropriate comic buttons .

it's the funniest american comedy since graffiti bridge .

that neither protagonist has a distinguishable condition hardly matters because both are just actory concoctions , defined by childlike dimness and a handful of quirks .

what starts off as a possible argentine american beauty reeks like a room stacked with pungent flowers .

the project's filmmakers forgot to include anything even halfway scary as they poorly rejigger fatal attraction into a high school setting .

in old-fashioned screenwriting parlance , ms . shreve's novel proved too difficult a text to 'lick , ' despite the efforts of a first-rate cast .

solondz may well be the only one laughing at his own joke

stitch is a bad mannered , ugly and destructive little * * * * . no cute factor here… . not that i mind ugly ; the problem is he has no character , loveable or otherwise .

deep down , i realized the harsh reality of my situation : i would leave the theater with a lower i . q . than when i had entered .

a really funny fifteen-minute short stretched beyond its limits to fill an almost feature-length film .

aside from the fact that the film idiotically uses the website feardotcom . com or the improperly hammy performance from poor stephen rea , the film gets added disdain for the fact that it is nearly impossible to look at or understand .

it is bad , but certainly not without merit as entertainment .

for its 100 minutes running time , you'll wait in vain for a movie to happen .

a work that lacks both a purpose and a strong pulse .

a faster paced family flick . upper teens may get cynical . smaller numbered kidlets will enjoy .

while this film has an 'a' list cast and some strong supporting players , the tale -- like its central figure , vivi -- is just a little bit hard to love .

it's a road-trip drama with too many wrong turns .

most fish stories are a little peculiar , but this is one that should be thrown back in the river .

it's all gratuitous before long , as if schwentke were fulfilling a gross-out quota for an anticipated audience demographic instead of shaping the material to fit the story .

" i blame all men for war , " [the warden's daughter] tells her father . the movie is about as deep as that sentiment .

it's fitfully funny but never really takes off .

i've seen some bad singer-turned actors , but lil bow wow takes the cake .

by halfway through this picture i was beginning to hate it , and , of course , feeling guilty for it . . . . then , miracle of miracles , the movie does a flip-flop .

for all the complications , it's all surprisingly predictable .

it's been 20 years since 48 hrs . made eddie murphy a movie star and the man hasn't aged a day . but his showboating wise-cracker stock persona sure is getting old .

if deuces wild had been tweaked up a notch it would have become a camp adventure , one of those movies that's so bad it starts to become good . but it wasn't .

for a film about action , ultimate x is the gabbiest giant-screen movie ever , bogging down in a barrage of hype .

. . . a low rate annie featuring some kid who can't act , only echoes of jordan , and weirdo actor crispin glover screwing things up old school .

it might not be 1970s animation , but everything else about it is straight from the saturday morning cartoons – a retread story , bad writing , and the same old silliness .

the picture seems uncertain whether it wants to be an acidic all-male all about eve or a lush , swooning melodrama in the intermezzo strain .

tends to plod .

a nearly 21/2 hours , the film is way too indulgent .

gorgeous to look at but insufferably tedious and turgid . . . a curiously constricted epic .

it looks much more like a cartoon in the end than the simpsons ever has .

with a tighter editorial process and firmer direction this material could work , especially since the actresses in the lead roles are all more than competent , but as is , personal velocity seems to be idling in neutral .

doesn't really add up to much .

it's better suited for the history or biography channel , but there's no arguing the tone of the movie - it leaves a bad taste in your mouth and questions on your mind .

an entertainment so in love with its overinflated mythology that it no longer recognizes the needs of moviegoers for real characters and compelling plots .

a prolonged extrusion of psychopathic pulp .

borrows from other movies like it in the most ordinary and obvious fashion .

it's surprisingly bland despite the heavy doses of weird performances and direction .

a chilly , remote , emotionally distant piece . . . so dull that its tagline should be : 'in space , no one can hear you snore . '

the characters seem one-dimensional , and the film is superficial and will probably be of interest primarily to its target audience .

sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours .

it's like a drive-by . you can drive right by it without noticing anything special , save for a few comic turns , intended and otherwise .

everything -- even life on an aircraft carrier -- is sentimentalized .

this would-be 'james bond for the extreme generation' pic is one big , dumb action movie . stress 'dumb . '

the movie has generic virtues , and despite a lot of involved talent , seems done by the numbers .

when your subject is illusion versus reality , shouldn't the reality seem at least passably real ?

it's a terrible movie in every regard , and utterly painful to watch .

this is rote spookiness , with nary an original idea ( or role , or edit , or score , or anything , really ) in sight , and the whole of the proceedings beg the question 'why ? '

a fan film that for the uninitiated plays better on video with the sound turned down .

too infuriatingly quirky and taken with its own style .

there's a whole heap of nothing at the core of this slight coming-of-age/coming-out tale .

as much as i laughed throughout the movie , i cannot mount a cogent defense of the film as entertainment , or even performance art , although the movie does leave you marveling at these guys' superhuman capacity to withstand pain .

the type of dumbed-down exercise in stereotypes that gives the [teen comedy] genre a bad name .

distinctly sub-par . . . more likely to drown a viewer in boredom than to send any shivers down his spine .

plays like a bad blend of an overripe episode of tv's dawson's creek and a recycled and dumbed-down version of love story .

unless you come in to the film with a skateboard under your arm , you're going to feel like you weren't invited to the party .

when the casting call for this movie went out , it must have read 'seeking anyone with acting ambition but no sense of pride or shame . '

just isn't as weird as it ought to be .

a " home alone " film that is staged like " rosemary's baby , " but is not as well-conceived as either of those films .

[siegel] and co-writers lisa bazadona and grace woodard have relied too much on convention in creating the characters who surround frankie .

no film could possibly be more contemptuous of the single female population .

`hey arnold ! ' has some visual wit . . . but little imagination elsewhere .

they're going through the motions , but the zip is gone .

a sluggish pace and lack of genuine narrative hem the movie in every bit as much as life hems in the spirits of these young women .

a low-budget affair , tadpole was shot on digital video , and the images often look smeary and blurry , to the point of distraction . then again , in a better movie , you might not have noticed .

it's mindless junk like this that makes you appreciate original romantic comedies like punch-drunk love .

the movie is like a year late for tapping into our reality tv obsession , and even tardier for exploiting the novelty of the " webcast . "

tale will be all too familiar for anyone who's seen george roy hill's 1973 film , " the sting . "

gets the look and the period trappings right , but it otherwise drowns in a sea of visual and verbal clichés .

it's hard to quibble with a flick boasting this many genuine cackles , but notorious c . h . o . still feels like a promising work-in-progress .

anyone who wants to start writing screenplays can just follow the same blueprint from hundreds of other films , sell it to the highest bidder and walk away without anyone truly knowing your identity .

a major waste . . . generic .

the problem with the bread , my sweet is that it's far too sentimental .

a late-night cable sexploitation romp masquerading as a thriller about the ruthless social order that governs college cliques .

falls short in explaining the music and its roots .

never inspires more than an interested detachment .