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opera on film is never satisfactory the art demands live viewing the innate theatrics that provide its thrills and extreme emotions lose their luster when flattened onscreen

despite all the closeddoor hankypanky the film is essentially juiceless

it is parochial accessible to a chosen few standoffish to everyone else and smugly suggests a superior moral tone is more important than filmmaking skill

the sweetest thing leaves an awful sour taste

its lost the politics and the social observation and become just another situation romance about a couple of saps stuck in an inarticulate screenplay

terminally bland painfully slow and needlessly confusing the movie shot on digital videotape rather than film is frequently indecipherable

as dumb and cheesy as they may be the cartoons look almost shakespearean both in depth and breadth after watching this digitaleffectsheavy supposed familyfriendly comedy

aloof and lacks any real raw emotion which is fatal for a film that relies on personal relationships

a lowrent retread of the alien pictures

serviceable at best slightly less than serviceable at worst

its initial excitement settles into a warmed over pastiche

a big meal of cliches that the talented cast generally chokes on

the story has little wit and no surprises

the merchantivory team continues to systematically destroy everything we hold dear about cinema only now its begun to split up so that it can do even more damage

what should have been a cutting hollywood satire is instead about as fresh as last weeks issue of variety

hey everybody wanna watch a movie in which a guy dressed as a childrens party clown gets violently gangraped i didnt think so

a little more intensity and a little less charm would have saved this film a world of hurt

dense and enigmatic elusive stagy and stilted

this slop doesnt even have potential as a cult film as its too loud to shout insults at the screen

the movies plot is almost entirely witless and inane carrying every gag two or three times beyond its limit to sustain a laugh

may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence this scarlets letter is a as in aimless arduous and arbitrary

plays like a glossy melodrama that occasionally verges on camp

the central character isnt complex enough to hold our interest

a modestly comic modestly actionoriented world war ii adventure that in terms of authenticity is one of those films that requires the enemy to never shoot straight

a puppy dog so desperate for attention it nearly breaks its little neck trying to perform entertaining tricks

just about all of the film is confusing on one level or another making ararat far more demanding than it needs to be

a little less extreme than in the past with longer exposition sequences between them and with fewer gags to break the tedium

theres a heavy stench of been there done that hanging over the film its everything youd expect but nothing more

the biggest problem with satin rouge is lilia herself shes a cipher played by an actress who smiles and frowns but doesnt reveal an inner life

a quaint romanticized rendering

what with the incessant lounge music playing in the films background you may mistake love liza for an adam sandler chanukah song

the movies heavyhanded screenplay navigates a fast fade into pomposity and pretentiousness

a potentially good comic premise and excellent cast are terribly wasted

woody allen used to ridicule movies like hollywood ending now he makes them

shes not yet an actress not quite a singer

not a bad premise but the execution is lackluster at best

been there done that

there is only so much baked cardboard i need to chew

a movie like the guys is why film criticism can be considered work

schnitzlers film has a great hook some clever bits and welldrawn if standard issue characters but is still only partly satisfying

even if it made its original release date last fall it wouldve reeked of a beenthere donethat sameness

only twofifths of a satisfying movie experience

a loud ugly irritating movie without any of its satirical salvos hitting a discernible target

lame and unnecessary

a movie version of a paintbynumbers picture we can tell what it is supposed to be but cant really call it a work of art

its a brilliant honest performance by nicholson but the film is an agonizing bore except when the fantastic kathy bates turns up bravado kathy

liotta is put in an impossible spot because his characters deceptions ultimately undo him and the believability of the entire scenario too bad

you can thank me for this i saw juwanna mann so you dont have to

unfunny and lacking any sense of commitment to or affection for its characters the reginald hudlin comedy relies on toilet humor ethnic slurs

basically its pretty but dumb

this romanticcomedy asks the question how much souvlaki can you take before indigestion sets in

squandering his opportunity to make absurdist observations burns gets caught up in the rush of slapstick thoroughfare

theres a neat twist subtly rendered that could have wrapped things up at 80 minutes but kang tacks on three or four more endings

reeboir varies between a sweet smile and an angry bark while said attempts to wear down possible pupils through repetition it has no affect on the kurds but it wore me down

the actors improvise and scream their way around this movie directionless lacking any of the rollicking dark humor so necessary to make this kind of idea work on screen

cowriterdirector jonathan parkers attempts to fashion a brazillike hyperreal satire fall dreadfully short

if this silly little cartoon can inspire a few kids not to grow up to be greedy bastards more power to it

a superfluous sequel plagued by that old familiar feeling of lets get this thing over with everyone has shown up at the appointed time and place but visible enthusiasm is mighty hard to find

if theres a heaven for bad movies deuces wild is on its way

comes off like a bad imitation of the bard

whats missing in murder by numbers is any real psychological grounding for the teens deviant behaviour being latently gay and liking to read are hardly enough

an uninspired preachy and clichd war film

horrendously amateurish filmmaking that is plainly dull and visually ugly when it isnt incomprehensible

a movie that harps on mediaconstructed issues like whether compromise is the death of self this orgasm wont be an exceedingly memorable one for most people

slackers jokey approach to college education is disappointingly simplistic the films biggest problem and there are no unforgettably stupid stunts or uproariously rude lines of dialogue to remember it by

if festival in cannes nails hard boiled hollywood argot with a bracingly nasty accuracy much about the film including some of its casting is frustratingly unconvincing

the movie is too impressed with its own solemn insights to work up much entertainment value

i havent seen such selfamused trash since freddy got fingered

little more than a wellmounted history lesson

rob schneiders infantile crossdressing routines fill the hot chick the latest gimmick from this unimaginative comedian

a horrible 99minute stink bomb

the film is weighed down by supporting characters who are either too goodly wise and knowing or downright comically evil

her fans walked out muttering words like horrible and terrible but had so much fun dissing the film that they didnt mind the ticket cost in this case zero

the film is so bad it doesnt improve upon the experience of staring at a blank screen

sheridans take on the authors schoolboy memoir is a rather toothless take on a hard young life

it jumps around with little logic or continuity presenting backstage bytes of information that never amount to a satisfying complete picture of this particular anciently demanding mtier

how i killed my father is one of those art house films that makes you feel like youre watching an iceberg melt only it never melts

when it comes to the battle of hollywood vs woo it looks like woos a p o w

there are a few chuckles but not a single gag sequence that really scores and the stars seem to be in two different movies

the chateau has one very funny joke and a few other decent ones but all it amounts to is a mildly funny sometimes tedious ultimately insignificant film

its dull spiritless silly and monotonous an ultraloud blast of pointless mayhem going nowhere fast

the mushy finale turns john q into a movieoftheweek tearjerker

content merely to lionize its title character and exploit his anger all for easy sanctimony formulaic thrills and a hamfisted sermon on the need for national health insurance

the movie turns out to be assayas homage to the gallic tradition of quality in all its fusty squareness

its message has merit and in the hands of a brutally honest individual like prophet jack might have made a point or two regarding life

seems even more uselessly redundant and shamelessly moneygrubbing than most thirdrate horror sequels

its hard to imagine that even very small children will be impressed by this tired retread

neither as scaryfunny as tremors nor dementedfunny as starship troopers the movie isnt tough to take as long as youve paid a matinee price

if swimfan does catch on it may be because teens are looking for something to make them laugh

what mightve been an exhilarating exploration of an odd love triangle becomes a sprawl of uncoordinated vectors

the master of disguise may have made a great saturday night live sketch but a great movie it is not

its quite an achievement to set and shoot a movie at the cannes film festival and yet fail to capture its visual appeal or its atmosphere

boll uses a lot of quick cutting and blurry stepprinting to goose things up but dopey dialogue and sometimes inadequate performances kill the effect

its always disappointing when a documentary fails to live up to or offer any new insight into its chosen topic unfortunately thats precisely what arthur dongs family fundamentals does

has the marks of a septuagenarian its a crusty treatment of a clever gimmick

like a mediumgrade network sitcommostly inoffensive fitfully amusing but ultimately so weightless that a decent draft in the auditorium might blow it off the screen

something must have been lost in the translation

becomes the last thing you would expect from a film with this title or indeed from any plympton film boring

in the end the film feels homogenized and a bit contrived as if were looking back at a tattered and ugly past with rosetinted glasses

chans stunts are limited and so embellished by editing that theres really not much of a sense of action or even actioncomedy