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the wild thornberrys movie is pleasant enough and the message of our close ties with animals can certainly not be emphasized enough .

'men in black ii creates a new threat for the mib , but recycles the same premise .

though lan yu lacks a sense of dramatic urgency , the film makes up for it with a pleasing verisimilitude .

there is not a character in the movie with a shred of plausibility , not an event that is believable , not a confrontation that is not staged , not a moment that is not false .

detox is ultimately a pointless endeavor .

a sensual performance from abbass buoys the flimsy story , but her inner journey is largely unexplored and we're left wondering about this exotic-looking woman whose emotional depths are only hinted at .

for all its technical virtuosity , the film is so mired in juvenile and near-xenophobic pedagogy that it's enough to make one pine for the day when godard can no longer handle the rigors of filmmaking .

most impressive , though , is the film's open-ended finale that refuses to entirely close its characters' emotional wounds .

a mediocre exercise in target demographics , unaware that it's the butt of its own joke .

amid the clich and foreshadowing , cage manages a degree of casual realism . . . that is routinely dynamited by blethyn .

equlibrium could pass for a thirteen-year-old's book report on the totalitarian themes of 1984 and farenheit 451 .

delivers the same old same old , tarted up with latin flava and turned out by hollywood playas .

a gift to anyone who loves both dance and cinema

[the digital effects] reminded me of terry gilliam's rudimentary old monty python cartoons , in which he would cut out figures from drawings and photographs and paste them together .

steers , in his feature film debut , has created a brilliant motion picture .

it's this memory-as-identity obviation that gives secret life its intermittent unease , reaffirming that long-held illusions are indeed reality , and that erasing them recasts the self .

certainly the performances are worthwhile .

jackson and co have brought back the value and respect for the term epic cinema .

vividly demonstrates that the director of such hollywood blockbusters as patriot games can still turn out a small , personal film with an emotional wallop .

the movie's downfall is to substitute plot for personality . it doesn't really know or care about the characters , and uses them as markers for a series of preordained events .

i can analyze this movie in three words : thumbs friggin' down .

the satire is just too easy to be genuinely satisfying .

a bland animated sequel that hardly seems worth the effort .

evokes a little of the fear that parents have for the possible futures of their children--and the sometimes bad choices mothers and fathers make in the interests of doing them good .

a well-crafted letdown .

as a movie , it never seems fresh and vital . it never plays as dramatic even when dramatic things happen to people . it labours as storytelling .

high crimes carries almost no organic intrigue as a government/ marine/legal mystery , and that's because the movie serves up all of that stuff , nearly subliminally , as the old-hat province of male intrigue .

one of the best films of the year with its exquisite acting , inventive screenplay , mesmerizing music , and many inimitable scenes of tenderness , loss , discontent , and yearning .

it's got the brawn , but not the brains .

the pleasure of read my lips is like seeing a series of perfect black pearls clicking together to form a string . we're drawn in by the dark luster .

on the granger movie gauge of 1 to 10 , the powerpuff girls is a fast , frenetic , funny , even punny 6 -- aimed specifically at a grade-school audience .

there's enough melodrama in this magnolia primavera to make pta proud yet director muccino's characters are less worthy of puccini than they are of daytime television .

with the cheesiest monsters this side of a horror spoof , which they isn't , it is more likely to induce sleep than fright .

yes , i have given this movie a rating of zero . but fans of the show should not consider this a diss . consider it 'perfection . '

shunji iwai's all about lily chou chou is a beautifully shot , but ultimately flawed film about growing up in japan .

the banter between calvin and his fellow barbers feels like a streetwise mclaughlin group . . . and never fails to entertain .

an old-fashioned scary movie , one that relies on lingering terror punctuated by sudden shocks and not constant bloodshed punctuated by flying guts .

it's not a bad premise , just a bad movie .

like the series , the movie is funny , smart , visually inventive , and most of all , alive .

i'm sure mainstream audiences will be baffled , but , for those with at least a minimal appreciation of woolf and clarissa dalloway , the hours represents two of those well spent .

when it's all wet , blue crush is highly enjoyable . when it's on dry land , though , this surfer-girl melodrama starts gasping like a beached grouper .

the film gets close to the chimps the same way goodall did , with a serious minded patience , respect and affection .

circuit queens won't learn a thing , they'll be too busy cursing the film's strategically placed white sheets .

whether kiss is a future cult classic or destined to be completely forgotten is open to question , but the risk-takers in the crowd should check it out and form their own opinion .

a confluence of kiddie entertainment , sophisticated wit and symbolic graphic design .

not sweet enough to liven up its predictable story and will leave even fans of hip-hop sorely disappointed .

if you adored the full monty so resoundingly that you're dying to see the same old thing in a tired old setting , then this should keep you reasonably entertained .

both lead performances are oscar-size . quaid is utterly fearless as the tortured husband living a painful lie , and moore wonderfully underplays the long-suffering heroine with an unflappable '50s dignity somewhere between jane wyman and june cleaver .

a limp eddie murphy vehicle that even he seems embarrassed to be part of .

perfectly enjoyable , instantly forgettable , nothing to write home about .

as it stands , there's some fine sex onscreen , and some tense arguing , but not a whole lot more .

characters wander into predictably treacherous situations even though they should know better .

from its invitingly upbeat overture to its pathos-filled but ultimately life-affirming finale , martin is a masterfully conducted work .

an often-deadly boring , strange reading of a classic whose witty dialogue is treated with a baffling casual approach

by the miserable standards to which the slasher genre has sunk , . . . actually pretty good . of course , by more objective measurements it's still quite bad .

the bottom line is the piece works brilliantly .

it sounds sick and twisted , but the miracle of shainberg's film is that it truly is romance

a brilliant gag at the expense of those who paid for it and those who pay to see it .

the humor is forced and heavy-handed , and occasionally simply unpleasant .

you don't know whether to admire the film's stately nature and call it classicism or be exasperated by a noticeable lack of pace . or both .

wise and deadpan humorous .

its generic villains lack any intrigue ( other than their funny accents ) and the action scenes are poorly delivered .

it's [ricci's] best work yet , this girl-woman who sincerely believes she can thwart the world's misery with blind good will .

interesting and thoroughly unfaithful version of carmen

a mostly intelligent , engrossing and psychologically resonant suspenser .

the attraction between these two marginal characters is complex from the start -- and , refreshingly , stays that way .

it never rises to its clever what-if concept .

fast-paced and wonderfully edited , the film is extremely thorough .

a painfully funny ode to bad behavior .

all in all , road to perdition is more in love with strangeness than excellence .

everyone connected to this movie seems to be part of an insider clique , which tends to breed formulaic films rather than fresh ones .

the latest vapid actor's exercise to appropriate the structure of arthur schnitzler's reigen .

mocking kung fu pictures when they were a staple of exploitation theater programming was witty . mocking them now is an exercise in pointlessness .

unfortunately , contrived plotting , stereotyped characters and woo's over-the-top instincts as a director undermine the moral dilemma at the movie's heart .

nicholson's understated performance is wonderful . as warren he stumbles in search of all the emotions and life experiences he's neglected over the years .

neither revelatory nor truly edgy--merely crassly flamboyant and comedically labored .

it's a talking head documentary , but a great one .

seldahl's barbara is a precise and moving portrait of someone whose world is turned upside down , first by passion and then by illness .

i've seen some bad singer-turned actors , but lil bow wow takes the cake .

makes the case for a strong education and good teachers being more valuable in the way they help increase an average student's self-esteem , and not strictly in the knowledge imparted .

soderbergh skims the fat from the 1972 film . what's left is a rich stew of longing .

a very pretty after-school special . it's an effort to watch this movie , but it eventually pays off and is effective if you stick with it .

imagine the james woods character from videodrome making a home movie of audrey rose and showing it to the kid from the sixth sense and you've imagined the ring .

an exciting and involving rock music doc , a smart and satisfying look inside that tumultuous world .

a flawed film but an admirable one that tries to immerse us in a world of artistic abandon and political madness and very nearly succeeds .

with its parade of almost perpetually wasted characters . . . margarita feels like a hazy high that takes too long to shake .

sadly , 'garth' hasn't progressed as nicely as 'wayne . '

shallow , noisy and pretentious .

you can thank me for this . i saw juwanna mann so you don't have to .

with recent tensions rekindled by the kathleen soliah trial and the upcoming trial of sla members emily and william harris , not to mention sept . 11 , its difficult these days to appreciate fire's bright side .

it's about individual moments of mood , and an aimlessness that's actually sort of amazing .

lanie's professional success means she must be a failure at life , because she's driven by ambition and doesn't know how to have fun .

hardly makes the kind of points egoyan wanted to make , nor does it exist as the kind of monument he wanted to build , to victims whose voices have never gained the ears of the world .

all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .

the predominantly amateur cast is painful to watch , so stilted and unconvincing are the performances .

one of those movies where you walk out of the theater not feeling cheated exactly , but feeling pandered to , which , in the end , might be all the more infuriating .

though the plot is predictable , the movie never feels formulaic , because the attention is on the nuances of the emotional development of the delicate characters .

one of the most important and exhilarating forms of animated filmmaking since old walt doodled steamboat willie .

using a stock plot , about a boy injects just enough freshness into the proceedings to provide an enjoyable 100 minutes in a movie theater .

bread , my sweet has so many flaws it would be easy for critics to shred it . it may even fall into the category of films you love to hate . i admit it , i hate to like it .