Datasets:

aliciiavs

/

rottingtomatoes2

like 0

if deuces wild had been tweaked up a notch it would have become a camp adventure one of those movies thats so bad it starts to become good but it wasnt

for a film about action ultimate x is the gabbiest giantscreen movie ever bogging down in a barrage of hype

a low rate annie featuring some kid who cant 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 allmale all about eve or a lush swooning melodrama in the intermezzo strain

tends to plod

a nearly 212 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

doesnt really add up to much

its better suited for the history or biography channel but theres 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

its 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 onedimensional 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

its like a driveby 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 wouldbe 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 shouldnt the reality seem at least passably real

its 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

theres a whole heap of nothing at the core of this slight comingofagecomingout 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 dumbeddown exercise in stereotypes that gives the teen comedy genre a bad name

distinctly subpar 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 tvs dawsons creek and a recycled and dumbeddown version of love story

unless you come in to the film with a skateboard under your arm youre going to feel like you werent 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 isnt as weird as it ought to be

a home alone film that is staged like rosemarys baby but is not as wellconceived as either of those films

siegel and cowriters 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

theyre 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 lowbudget 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

its mindless junk like this that makes you appreciate original romantic comedies like punchdrunk 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 whos seen george roy hills 1973 film the sting

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

its hard to quibble with a flick boasting this many genuine cackles but notorious c h o still feels like a promising workinprogress

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 its far too sentimental

a latenight 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

what might have emerged as hilarious lunacy in the hands of woody allen or mel brooks at least during their 70s heyday comes across as lame and sophomoric in this debut indie feature

despite slick production values and director roger michells ticktock pacing the final effect is like having two guys yelling in your face for two hours

pretty much sucks but has a funny moment or two

they do a good job of painting this family dynamic for the audience but they tried to squeeze too many elements into the film

a supernatural mystery that doesnt know whether it wants to be a suspenseful horror movie or a weepy melodrama it ends up being neither and fails at both endeavors

two badly interlocked stories drowned by all too clever complexity

it is so earnest so overwrought and so wildly implausible that it begs to be parodied

these are textbook lives of quiet desperation

swimfan like fatal attraction eventually goes overboard with a loony melodramatic denouement in which a high school swimming pool substitutes for a bathtub

claims to sort the bad guys from the good which is its essential problem

purposefully shocking in its eroticized gore if unintentionally dull in its lack of poetic frissons

feels like pieces a bunch of other better movies slapped together

almost everything about the film is unsettling from the preposterous hairpiece worn by lais villainous father to the endless action sequences

writerdirector randall wallace has bitten off more than he or anyone else could chew and his movie veers like a drunken driver through heavy traffic

it follows the blair witch formula for an hour in which were told something creepy and vague is in the works and then it goes awry in the final 30 minutes

one cant shake the feeling that crossroads is nothing more than an hourandahalflong commercial for britneys latest album

phonedin business as usual

theres an epic here but you have to put it together yourself

what little atmosphere is generated by the shadowy lighting macabre sets and endless rain is offset by the sheer ugliness of everything else

directorchef gabriele muccino keeps it fast zippy comin at ya as if fearing that his film is molto superficiale

tartakovskys team has some freakish powers of visual charm but the five writers slip into the modern rut of narrative banality

the most horrific movie experience ive had since cant stop the music it may as well be called jarjar binks the movie its that painful

god is great the movies not

like a threering circus there are side stories aplenty none of them memorable

when in doubt the film ratchets up the stirring soundtrack throws in a fishoutofwater gag and lets the cliched dialogue rip or else a doggie winks

a girls gone wild video for the boho arthouse crowd the burning sensation isnt a definitive countercultural document its makers arent removed and inquisitive enough for that

as original and insightful as last weeks episode of behind the music

plays like john le carr with a couple of burntout cylinders

you may be galled that youve wasted nearly two hours of your own precious life with this silly little puddle of a movie

its neither as sappy as big daddy nor as anarchic as happy gilmore or the waterboy but it has its moments

despite the surface attractions conrad l halls cinematography will likely be nominated for an oscar next year theres something impressive and yet lacking about everything

a smug and convoluted actioncomedy that doesnt allow an earnest moment to pass without reminding audiences that its only a movie

crystal and de niro manage to squeeze out some good laughs but not enough to make this silly con job sing

worthless from its pseudorockvideo opening to the idiocy of its last frames

the christ allegory doesnt work because there is no foundation for it

go for la salles performance and make do as best you can with a stuttering script

its hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful selfsatisfied 22yearold girlfriend and an equally beautiful selfsatisfied 18yearold mistress

tries too hard to be funny in a way thats too loud too goofy and too short of an attention span

i didnt find much fascination in the swinging what theyre doing is a matter of plumbing arrangements and mind games of no erotic or sensuous charge but that they are doing it is thoughtprovoking

the acting is just fine but theres not enough substance here to sustain interest for the full 90 minutes especially with the weak payoff

after collateral damage you might imagine that most every aggrieved father clich has been unturned but no

ultimately the yes snaillike pacing and lack of thematic resonance make the film more silly than scary like some sort of martha stewart decorating program run amok

releasing a film with the word dog in its title in january lends itself to easy jokes and insults and snow dogs deserves every single one of them

tedious norwegian offering which somehow snagged an oscar nomination

it was a dark and stormy night

a darkaspitch comedy that frequently veers into corny sentimentality probably would not improve much after a therapeutic zap of shock treatment