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the rock is destined to be the 21st century's new " conan " and that he's going to make a splash even greater than arnold schwarzenegger , jean-claud van damme or steven segal .

the gorgeously elaborate continuation of " the lord of the rings " trilogy is so huge that a column of words cannot adequately describe co-writer/director peter jackson's expanded vision of j . r . r . tolkien's middle-earth .

effective but too-tepid biopic

if you sometimes like to go to the movies to have fun , wasabi is a good place to start .

emerges as something rare , an issue movie that's so honest and keenly observed that it doesn't feel like one .

the film provides some great insight into the neurotic mindset of all comics -- even those who have reached the absolute top of the game .

offers that rare combination of entertainment and education .

perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions .

steers turns in a snappy screenplay that curls at the edges ; it's so clever you want to hate it . but he somehow pulls it off .

take care of my cat offers a refreshingly different slice of asian cinema .

this is a film well worth seeing , talking and singing heads and all .

what really surprises about wisegirls is its low-key quality and genuine tenderness .

( wendigo is ) why we go to the cinema : to be fed through the eye , the heart , the mind .

one of the greatest family-oriented , fantasy-adventure movies ever .

ultimately , it ponders the reasons we need stories so much .

an utterly compelling 'who wrote it' in which the reputation of the most famous author who ever lived comes into question .

illuminating if overly talky documentary .

a masterpiece four years in the making .

the movie's ripe , enrapturing beauty will tempt those willing to probe its inscrutable mysteries .

offers a breath of the fresh air of true sophistication .

a thoughtful , provocative , insistently humanizing film .

with a cast that includes some of the top actors working in independent film , lovely & amazing involves us because it is so incisive , so bleakly amusing about how we go about our lives .

a disturbing and frighteningly evocative assembly of imagery and hypnotic music composed by philip glass .

not for everyone , but for those with whom it will connect , it's a nice departure from standard moviegoing fare .

scores a few points for doing what it does with a dedicated and good-hearted professionalism .

occasionally melodramatic , it's also extremely effective .

spiderman rocks

an idealistic love story that brings out the latent 15-year-old romantic in everyone .

at about 95 minutes , treasure planet maintains a brisk pace as it races through the familiar story . however , it lacks grandeur and that epic quality often associated with stevenson's tale as well as with earlier disney efforts .

it helps that lil bow wow . . . tones down his pint-sized gangsta act to play someone who resembles a real kid .

guaranteed to move anyone who ever shook , rattled , or rolled .

a masterful film from a master filmmaker , unique in its deceptive grimness , compelling in its fatalist worldview .

light , cute and forgettable .

if there's a way to effectively teach kids about the dangers of drugs , i think it's in projects like the ( unfortunately r-rated ) paid .

while it would be easy to give crush the new title of two weddings and a funeral , it's a far more thoughtful film than any slice of hugh grant whimsy .

though everything might be literate and smart , it never took off and always seemed static .

cantet perfectly captures the hotel lobbies , two-lane highways , and roadside cafes that permeate vincent's days

ms . fulford-wierzbicki is almost spooky in her sulky , calculating lolita turn .

though it is by no means his best work , laissez-passer is a distinguished and distinctive effort by a bona-fide master , a fascinating film replete with rewards to be had by all willing to make the effort to reap them .

like most bond outings in recent years , some of the stunts are so outlandish that they border on being cartoonlike . a heavy reliance on cgi technology is beginning to creep into the series .

newton draws our attention like a magnet , and acts circles around her better known co-star , mark wahlberg .

the story loses its bite in a last-minute happy ending that's even less plausible than the rest of the picture . much of the way , though , this is a refreshingly novel ride .

fuller would surely have called this gutsy and at times exhilarating movie a great yarn .

'compleja e intelectualmente retadora , el ladrón de orquídeas es uno de esos filmes que vale la pena ver precisamente por su originalidad . '

the film makes a strong case for the importance of the musicians in creating the motown sound .

karmen moves like rhythm itself , her lips chanting to the beat , her long , braided hair doing little to wipe away the jeweled beads of sweat .

gosling provides an amazing performance that dwarfs everything else in the film .

a real movie , about real people , that gives us a rare glimpse into a culture most of us don't know .

tender yet lacerating and darkly funny fable .

may be spoofing an easy target -- those old '50's giant creature features -- but . . . it acknowledges and celebrates their cheesiness as the reason why people get a kick out of watching them today .

an engaging overview of johnson's eccentric career .

in its ragged , cheap and unassuming way , the movie works .

some actors have so much charisma that you'd be happy to listen to them reading the phone book . hugh grant and sandra bullock are two such likeable actors .

sandra nettelbeck beautifully orchestrates the transformation of the chilly , neurotic , and self-absorbed martha as her heart begins to open .

behind the snow games and lovable siberian huskies ( plus one sheep dog ) , the picture hosts a parka-wrapped dose of heart .

everytime you think undercover brother has run out of steam , it finds a new way to surprise and amuse .

manages to be original , even though it rips off many of its ideas .

singer/composer bryan adams contributes a slew of songs — a few potential hits , a few more simply intrusive to the story — but the whole package certainly captures the intended , er , spirit of the piece .

you'd think by now america would have had enough of plucky british eccentrics with hearts of gold . yet the act is still charming here .

whether or not you're enlightened by any of derrida's lectures on " the other " and " the self , " derrida is an undeniably fascinating and playful fellow .

a pleasant enough movie , held together by skilled ensemble actors .

this is the best american movie about troubled teens since 1998's whatever .

disney has always been hit-or-miss when bringing beloved kids' books to the screen . . . tuck everlasting is a little of both .

just the labour involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing .

the animated subplot keenly depicts the inner struggles of our adolescent heroes - insecure , uncontrolled , and intense .

the invincible werner herzog is alive and well and living in la

morton is a great actress portraying a complex character , but morvern callar grows less compelling the farther it meanders from its shocking start .

part of the charm of satin rouge is that it avoids the obvious with humour and lightness .

son of the bride may be a good half-hour too long but comes replete with a flattering sense of mystery and quietness .

a simmering psychological drama in which the bursts of sudden violence are all the more startling for the slow buildup that has preceded them .

a taut , intelligent psychological drama .

a compelling coming-of-age drama about the arduous journey of a sensitive young girl through a series of foster homes and a fierce struggle to pull free from her dangerous and domineering mother's hold over her .

a truly moving experience , and a perfect example of how art -- when done right -- can help heal , clarify , and comfort .

this delicately observed story , deeply felt and masterfully stylized , is a triumph for its maverick director .

at heart the movie is a deftly wrought suspense yarn whose richer shadings work as coloring rather than substance .

the appearance of treebeard and gollum's expanded role will either have you loving what you're seeing , or rolling your eyes . i loved it ! gollum's 'performance' is incredible !

a screenplay more ingeniously constructed than " memento "

if this movie were a book , it would be a page-turner , you can't wait to see what happens next .

haneke challenges us to confront the reality of sexual aberration .

absorbing and disturbing -- perhaps more disturbing than originally intended -- but a little clarity would have gone a long way .

it's the best film of the year so far , the benchmark against which all other best picture contenders should be measured .

painful to watch , but viewers willing to take a chance will be rewarded with two of the year's most accomplished and riveting film performances .

this is a startling film that gives you a fascinating , albeit depressing view of iranian rural life close to the iraqi border .

an imaginative comedy/thriller .

a few artsy flourishes aside , narc is as gritty as a movie gets these days .

while the isle is both preposterous and thoroughly misogynistic , its vistas are incredibly beautiful to look at .

together , tok and o orchestrate a buoyant , darkly funny dance of death . in the process , they demonstrate that there's still a lot of life in hong kong cinema .

director kapur is a filmmaker with a real flair for epic landscapes and adventure , and this is a better film than his earlier english-language movie , the overpraised elizabeth .

the movie is a blast of educational energy , as bouncy animation and catchy songs escort you through the entire 85 minutes .

a sports movie with action that's exciting on the field and a story you care about off it .

doug liman , the director of bourne , directs the traffic well , gets a nice wintry look from his locations , absorbs us with the movie's spycraft and uses damon's ability to be focused and sincere .

the tenderness of the piece is still intact .

katz uses archival footage , horrifying documents of lynchings , still photographs and charming old reel-to-reel recordings of meeropol entertaining his children to create his song history , but most powerful of all is the song itself

like the film's almost anthropologically detailed realization of early-'80s suburbia , it's significant without being overstated .

while mcfarlane's animation lifts the film firmly above the level of other coming-of-age films . . . it's also so jarring that it's hard to get back into the boys' story .

if nothing else , this movie introduces a promising , unusual kind of psychological horror .

in a normal screen process , these bromides would be barely enough to sustain an interstitial program on the discovery channel . but in imax 3-d , the clichés disappear into the vertiginous perspectives opened up by the photography .

writer-director burger imaginatively fans the embers of a dormant national grief and curiosity that has calcified into chronic cynicism and fear .

. . . a roller-coaster ride of a movie

i enjoyed time of favor while i was watching it , but i was surprised at how quickly it faded from my memory .