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this sort of cute and cloying material is far from zhangs forte and it shows

bray is completely at sea with nothing but a savage garden music video on his resume he has no clue about making a movie

freundlichs made crudup a suburban architect and a cipher

a huge disappointment coming as it does from filmmakers and performers of this calibre

though it pretends to expose the life of male hustlers its exploitive without being insightful

aimed squarely at the least demanding of demographic groups very small children who will be delighted simply to spend more time with familiar cartoon characters

what starts off as a satisfying kids flck becomes increasingly implausible as it races through contrived plot points

exhibits the shallow sensationalism characteristic of soap opera more salacious telenovela than serious drama

seagal is painfully foolish in trying to hold onto whats left of his passe chopsocky glory

even with harriss strong effort the script gives him little to effectively probe lears soulstripping breakdown

the story is bogus and its characters tissuethin

whereas the extremely competent hitman films such as pulp fiction and get shorty resonate a sardonic verve to their caustic purpose for existing who is cletis tout is an inexpressible and drab wannabe looking for that exact niche

while american adobo has its heart and its palate in the right place its brain is a little scattered ditsy even

imagine a film that begins as a seven ripoff only to switch to a mix of the shining the thing and any naked teenagers horror flick from the 1980s

most of the dialogue made me want to pack raw dough in my ears

costners warmmilk persona is just as illfitting as shadyacs perfunctory directing chops and some of the more overtly silly dialogue would sink laurence olivier

its coherent well shot and tartly acted but it wears you down like a dinner guest showing off his doctorate

directed by kevin bray whose crisp framing edgy camera work and wholesale ineptitude with acting tone and pace very obviously mark him as a video helmer making his feature debut

robin williams departs from his fun friendly demeanor in exchange for a darker unnerving role

high crimes is a cinematic misdemeanor a routine crime thriller remarkable only for its lack of logic and misuse of two fine actors morgan freeman and ashley judd

set in a 1986 harlem that doesnt look much like anywhere in new york

the chocolate factory without charlie

long on twinklyeyed closeups and short on shame

hiphop rarely comes alive as its own firebreathing entity in this picture

a wellcrafted letdown

a dull somnambulant exercise in pretension whose pervasive quiet is broken by frequent outbursts of violence and noise

deserving of its critical backlash and more

boring and meandering

neither a rousing success nor a blinding embarrassment still it just sits there like a side dish no one ordered

the sum of all fears is remarkably fuddled about motives and context which drains it of the dramatic substance that would shake us in our boots or cinema seats

the movie spends more time with schneider than with newcomer mcadams even though her performance is more interesting and funnier than his

this lowrent and even lowerwit ripoff of the farrelly brothers oeuvre gets way too mushy and in a relatively short amount of time

it recycles every clich about gays in what is essentially an extended soap opera

im all for the mentally challenged getting their fair shot in the movie business but surely it doesnt have to be as a collection of keening and selfmutilating sideshow geeks

may offend viewers not amused by the sick sense of humor

many of benjamins elements feel like theyve been patched in from an episode of miami vice

it aimlessly and unsuccessfully attempts to fuse at least three dull plots into one good one

most folks with a real stake in the american sexual landscape will find it either moderately amusing or just plain irrelevant

if youre not fans of the adventues of steve and terri you should avoid this like the dreaded king brown snake personally id rather watch them on the animal planet

cherish is a dud a romantic comedy thats not the least bit romantic and only mildly funny

feels as if the inmates have actually taken over the asylum

all of the filmmakers calculations cant rescue brown sugar from the curse of blandness

the movies gloomy atmosphere is fascinating though even if the movie itself doesnt stand a ghost of a chance

postseptember 11 the sum of all fears seems more tacky and reprehensible manipulating our collective fear without bestowing the subject with the intelligence or sincerity it unequivocally deserves

the exclamation point seems to be the only bit of glee youll find in this dreary mess

no matter how you slice it mark wahlberg and thandie newton are not hepburn and grant two cinematic icons with chemistry galore

godards ode to tackling lifes wonderment is a rambling and incoherent manifesto about the vagueness of topical excess in praise of love remains a ponderous and pretentious endeavor thats unfocused and tediously exasperating

humorless selfconscious art drivel made without a glimmer of intelligence or invention

the movies progression into rambling incoherence gives new meaning to the phrase fatal script error

solondz may be convinced that he has something significant to say but he isnt talking a talk that appeals to me

more tiring than anything

nelsons intentions are good but the end result does no justice to the story itself its horribly depressing and not very well done

the efforts of its star kline to lend some dignity to a dumb story are for naught

a goodnatured ensemble comedy that tries hard to make the most of a bumper cast but never quite gets off the ground

isnt it a bit early in his career for director barry sonnenfeld to do a homage to himself and its a lousy one at that

overly long and worshipful biodoc

ill go out on a limb it isnt quite one of the worst movies of the year its just merely very bad

writerdirector ritchie reduces wertmullers social mores and politics to tiresome jargon

about amys cuteness amys career success shes a bestselling writer of selfhelp books who cant help herself and amys neuroses when it comes to men

everything about girls cant swim even its passages of sensitive observation feels secondhand familiar and not in a good way

feels aimless for much of its running time until late in the film when a tidal wave of plot arrives leaving questions in its wake

less than fresh

in my own very humble opinion in praise of love lacks even the most fragmented charms i have found in almost all of his previous works

the script is too mainstream and the psychology too textbook to intrigue

muddled simplistic and more than a little pretentious

meandering and glacially paced and often just plain dull

a disaster of a drama saved only by its winged assailants

a road trip that will get you thinking are we there yet

director elie chouraqui who cowrote the script catches the chaotic horror of war but why bother if youre going to subjugate truth to the tearjerking demands of soap opera

dong never pushes for insights beyond the superficial tensions of the dynamic hes dissecting and the film settles too easily along the contours of expectation

if there was any doubt that peter ofallon didnt have an original bone in his body a rumor of angels should dispel it

an occasionally interesting but mostly repetitive look at a slice of counterculture that might be best forgotten

what could have been right at home as a nifty plot line in steven soderberghs traffic fails to arrive at any satisfying destination

the movie is like scorseses mean streets redone by someone who ignored it in favor of old juvenile delinquent paperbacks with titles like leather warriors and switchblade sexpot

this pathetic junk is barely an hour long nevertheless it still seems endless

it isnt that stealing harvard is a horrible movieif only it were that grand a failure its just that its so notatallgood and i expect much more from a talent as outstanding as director bruce mcculloch

dolman confines himself to shtick and sentimentality the one bald and the other sloppy

is it possible for a documentary to be utterly entranced by its subject and still show virtually no understanding of it

its supposed to be a romantic comedy it suffers from too much norma rae and not enough pretty woman

the leads are so unmemorable despite several attempts at lengthy dialogue scenes that one eventually resents having to inhale this gutter romancers secondhand material

the script please

staggers between flaccid satire and what is supposed to be madcap farce

not that any of us should be complaining when a film clocks in around 90 minutes these days but the plotting here leaves a lot to be desired

brainy artistic and muted almost to the point of suffocation

plays like the old diseaseoftheweek smallscreen melodramas

like life on the island the movie grows boring despite the scenery

the truth about charlie is that its a brazenly misguided project

caso voc sinta necessidade de sair da sala antes do trmino da projeo no se preocupe ningum lhe enviar penas simbolizando covardia

displays the potential for a better movie than what bailly manages to deliver

so exaggerated and broad that it comes off as annoying rather than charming

an awkward hybrid of genres that just doesnt work

the latest vapid actors exercise to appropriate the structure of arthur schnitzlers reigen

snipes is both a snore and utter tripe

ritchies film is easier to swallow than wertmullers polemical allegory but its selfdefeatingly decorous

chalk it up as the worst kind of hubristic folly

its the kind of underinspired overblown enterprise that gives hollywood sequels a bad name

rosenthal halloween ii seems to have forgotten everything he ever knew about generating suspense

even murphys expert comic timing and famed charisma cant rescue this effort

rodriguez was unable to reproduce the special spark between the characters that made the first film such a delight

a sleek advert for youthful anomie that never quite equals the sum of its pretensions