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some body smacks of exhibitionism more than it does cathartic truth telling

this isnt a terrible film by any means but its also far from being a realized work

apparently romantic comedy with a fresh point of view just doesnt figure in the present hollywood program

a lame comedy

depressingly thin and exhaustingly contrived only masochistic moviegoers need apply

a movie thats held captive by mediocrity not bad but not all that good bacon keeps things interesting but dont go out of your way to pay full price

whats next rob schneider dana carvey and sarah michelle gellar in the philadelphia story david spade as citizen kane

cant seem to get anywhere near the storys center

the problem amazingly enough is the screenplay

its a frankensteinmonster of a film that doesnt know what it wants to be

upper west sidey exercise in narcissism and selfcongratulation disguised as a tribute

on its icy face the new film is a subzero version of monsters inc without the latters imagination visual charm or texture

i cant say this enough this movie is about an adult male dressed in pink jammies

its a mindless action flick with a twist far better suited to videoviewing than the multiplex

after a while the only way for a reasonably intelligent person to get through the country bears is to ponder how a whole segment of popmusic history has been allowed to get wet fuzzy and sticky

we get light showers of emotion a couple of times but then strangely these wane to an inconsistent and ultimately unsatisfying drizzle

summers far too fleeting to squander on offal like this

the film is grossly contradictory in conveying its social message if indeed there is one

often lingers just as long on the irrelevant as on the engaging which gradually turns what time is it there into how long is this movie

too bad kramer couldnt make a guest appearance to liven things up

deuces wild is an encyclopedia of cliches that shoplifts shamelessly from farewelltoinnocence movies like the wanderers and a bronx tale without cribbing any of their intelligence

its a barely tolerable slog over welltrod ground

epps has neither the charisma nor the natural affability that has made tucker a star

its sweet but just a little bit too precious at the start and a little too familiar at the end

a dull dumb and derivative horror film

an awkwardly contrived exercise in magic realism

demme gets a lot of flavor and spice into his charade remake but he cant disguise that hes spiffing up leftovers that arent so substantial or fresh

this is a heartfelt story it just isnt a very involving one

these selfstyled athletes have banged their brains into the ground so frequently and furiously their capacity to explain themselves has gone the same way as their natural instinct for selfpreservation

the fact that the best part of the movie comes from a 60second homage to one of demmes good films doesnt bode well for the rest of it

richard pryor mined his personal horrors and came up with a treasure chest of material but lawrence gives us mostly fools gold

the band performances featured in drumline are red hot but from a mere story point of view the films ice cold

built on the premise that middleclass arkansas consists of monster truckloving good ol boys and peroxide blond honeys whose worldly knowledge comes from tv reruns and supermarket tabloids

a laughable or rather unlaughable excuse for a film

the sequel is everything the original was not contrived overblown and tiein ready

like a grinning jack o lantern its apparent glee is derived from a lobotomy having had all its vital essence scooped out and discarded

a sentimental hybrid that could benefit from the spice of specificity

familiar and predictable and 45ths of it might as well have come from a xerox machine rather than writerdirector franc reyes word processor

give shapiro goldman and bolado credit for good intentions but theres nothing here that they couldnt have done in half an hour

its so devoid of joy and energy it makes even jason x look positively shakesperean by comparison

a little objectivity could have gone a long way

one of the worst films of 2002

i believe silberling had the best intentions here but he just doesnt have the restraint to fully realize them

plays like an unbalanced mixture of graphic combat footage and almost saccharine domestic interludes that are pure hollywood

mctiernans remake may be lighter on its feet the soberminded original was as graceful as a tapdancing rhino but it is just as boring and as obvious

high crimes carries almost no organic intrigue as a government marinelegal mystery and thats because the movie serves up all of that stuff nearly subliminally as the oldhat province of male intrigue

this movie is about the worst thing chan has done in the united states

the explosion essentially ruined or rather overpowered the fiction of the movie for me

this ludicrous film is predictable at every turn

an incredibly irritating comedy about thoroughly vacuous people manages to embody the worst excesses of nouvelle vague without any of its sense of fun or energy

the film desperately sinks further and further into comedy futility

instead of a balanced film that explains the zeitgeist that is the x games we get a cinematic postcard thats superficial and unrealized

the crassness of this reactionary thriller is matched only by the ridiculousness of its premise

i wish it would have just gone more overthetop instead of trying to have it both ways

the superior plotline isnt quite enough to drag along the dead water weight of the other

the film doesnt really care about the thousands of americans who die hideously it cares about how ryan meets his future wife and makes his start at the cia

adrift bentley and hudson stare and sniffle respectively as ledger attempts in vain to prove that moviestar intensity can overcome bad hair design

after an hour and a half of wondering sometimes amusedly sometimes impatiently just what this strenuously unconventional movie is supposed to be you discover that the answer is as conventional as can be

linklater fans or pretentious types who want to appear avantgarde will suck up to this project

a woefully dull redundant concept that bears more than a whiff of exploitation despite iwais vaunted empathy

screenwriter chris ver weils directing debut is goodnatured and never dull but its virtues are small and easily overshadowed by its predictability

if you really want to understand what this story is really all about youre far better served by the source material

its mildly sentimental unabashedly consumerist studiously inoffensive and completely disposable

like its title character esther kahn is unusual but unfortunately also irritating

the star who helped give a spark to chasing amy and changing lanes falls flat as thinking man cia agent jack ryan in this summers new action film the sum of all fears

a summary of the plot doesnt quite do justice to the awfulness of the movie for that comes through all too painfully in the execution

every conceivable mistake a director could make in filming opera has been perpetrated here

snoots will no doubt rally to its cause trotting out threadbare standbys like masterpiece and triumph and all that malarkey but rarely does an established filmmaker so ardently waste viewers time with a gobbler like this

the films taste for shock humor will wear thin on all but those weaned on the comedy of tom green and the farrelly brothers

any enjoyment will be hinge from a personal threshold of watching sad but endearing characters do extremely unconventional things

if legendary shlockmeister ed wood had ever made a movie about a vampire it probably would look a lot like this alarming production adapted from anne rices novel the vampire chronicles

hardly a nuanced portrait of a young womans breakdown the film nevertheless works up a few scares

interminably bleak to say nothing of boring

things really get weird though not particularly scary the movie is all portent and no content