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simplistic , silly and tedious .
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it's so laddish and juvenile , only teenage boys could possibly find it funny .
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exploitative and largely devoid of the depth or sophistication that would make watching such a graphic treatment of the crimes bearable .
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[garbus] discards the potential for pathological study , exhuming instead , the skewed melodrama of the circumstantial situation .
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a visually flashy but narratively opaque and emotionally vapid exercise in style and mystification .
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the story is also as unoriginal as they come , already having been recycled more times than i'd care to count .
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about the only thing to give the movie points for is bravado -- to take an entirely stale concept and push it through the audience's meat grinder one more time .
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not so much farcical as sour .
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unfortunately the story and the actors are served with a hack script .
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all the more disquieting for its relatively gore-free allusions to the serial murders , but it falls down in its attempts to humanize its subject .
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a sentimental mess that never rings true .
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while the performances are often engaging , this loose collection of largely improvised numbers would probably have worked better as a one-hour tv documentary .
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interesting , but not compelling .
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on a cutting room floor somewhere lies . . . footage that might have made no such thing a trenchant , ironic cultural satire instead of a frustrating misfire .
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while the ensemble player who gained notice in guy ritchie's lock , stock and two smoking barrels and snatch has the bod , he's unlikely to become a household name on the basis of his first starring vehicle .
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there is a difference between movies with the courage to go over the top and movies that don't care about being stupid
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nothing here seems as funny as it did in analyze this , not even joe viterelli as de niro's right-hand goombah .
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such master screenwriting comes courtesy of john pogue , the yale grad who previously gave us " the skulls " and last year's " rollerball . " enough said , except : film overboard !
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here , common sense flies out the window , along with the hail of bullets , none of which ever seem to hit sascha .
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this 100-minute movie only has about 25 minutes of decent material .
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the execution is so pedestrian that the most positive comment we can make is that rob schneider actually turns in a pretty convincing performance as a prissy teenage girl .
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on its own , it's not very interesting . as a remake , it's a pale imitation .
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it shows that some studios firmly believe that people have lost the ability to think and will forgive any shoddy product as long as there's a little girl-on-girl action .
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a farce of a parody of a comedy of a premise , it isn't a comparison to reality so much as it is a commentary about our knowledge of films .
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as exciting as all this exoticism might sound to the typical pax viewer , the rest of us will be lulled into a coma .
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the party scenes deliver some tawdry kicks . the rest of the film . . . is dudsville .
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our culture is headed down the toilet with the ferocity of a frozen burrito after an all-night tequila bender — and i know this because i've seen 'jackass : the movie . '
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the criticism never rises above easy , cynical potshots at morally bankrupt characters . . .
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the movie's something-borrowed construction feels less the product of loving , well integrated homage and more like a mere excuse for the wan , thinly sketched story . killing time , that's all that's going on here .
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stupid , infantile , redundant , sloppy , over-the-top , and amateurish . yep , it's " waking up in reno . " go back to sleep .
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somewhere in the middle , the film compels , as demme experiments he harvests a few movie moment gems , but the field of roughage dominates .
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the action clichés just pile up .
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payami tries to raise some serious issues about iran's electoral process , but the result is a film that's about as subtle as a party political broadcast .
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the only surprise is that heavyweights joel silver and robert zemeckis agreed to produce this ; i assume the director has pictures of them cavorting in ladies' underwear .
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another useless recycling of a brutal mid-'70s american sports movie .
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i didn't laugh . i didn't smile . i survived .
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please , someone , stop eric schaeffer before he makes another film .
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most of the problems with the film don't derive from the screenplay , but rather the mediocre performances by most of the actors involved
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. . . if you're just in the mood for a fun -- but bad -- movie , you might want to catch freaks as a matinee .
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curling may be a unique sport but men with brooms is distinctly ordinary .
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though the opera itself takes place mostly indoors , jacquot seems unsure of how to evoke any sort of naturalism on the set .
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there's no getting around the fact that this is revenge of the nerds revisited -- again .
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the effort is sincere and the results are honest , but the film is so bleak that it's hardly watchable .
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analyze that regurgitates and waters down many of the previous film's successes , with a few new swings thrown in .
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with flashbulb editing as cover for the absence of narrative continuity , undisputed is nearly incoherent , an excuse to get to the closing bout . . . by which time it's impossible to care who wins .
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stinks from start to finish , like a wet burlap sack of gloom .
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to the civilized mind , a movie like ballistic : ecks vs . sever is more of an ordeal than an amusement .
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equlibrium could pass for a thirteen-year-old's book report on the totalitarian themes of 1984 and farenheit 451 .
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the lack of naturalness makes everything seem self-consciously poetic and forced . . . it's a pity that [nelson's] achievement doesn't match his ambition .
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everything is off .
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when seagal appeared in an orange prison jumpsuit , i wanted to stand up in the theater and shout , 'hey , kool-aid ! '
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an easy watch , except for the annoying demeanour of its lead character .
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imagine the cleanflicks version of 'love story , ' with ali macgraw's profanities replaced by romance-novel platitudes .
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pc stability notwithstanding , the film suffers from a simplistic narrative and a pat , fairy-tale conclusion .
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forget the misleading title , what's with the unexplained baboon cameo ?
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an odd , haphazard , and inconsequential romantic comedy .
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though her fans will assuredly have their funny bones tickled , others will find their humor-seeking dollars best spent elsewhere .
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pascale bailly's rom-com provides amélie's audrey tautou with another fabuleux destin -- i . e . , a banal spiritual quest .
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a static and sugary little half-hour , after-school special about interfaith understanding , stretched out to 90 minutes .
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watching the chemistry between freeman and judd , however , almost makes this movie worth seeing . almost .
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. . . a pretentious and ultimately empty examination of a sick and evil woman .
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the country bears has no scenes that will upset or frighten young viewers . unfortunately , there is almost nothing in this flat effort that will amuse or entertain them , either .
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the cumulative effect of watching this 65-minute trifle is rather like being trapped while some weird relative trots out the video he took of the family vacation to stonehenge . before long , you're desperate for the evening to end .
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the characters are never more than sketches . . . which leaves any true emotional connection or identification frustratingly out of reach .
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mattei's underdeveloped effort here is nothing but a convenient conveyor belt of brooding personalities that parade about as if they were coming back from stock character camp -- a drowsy drama infatuated by its own pretentious self-examination .
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only in its final surprising shots does rabbit-proof fence find the authority it's looking for .
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isn't as sharp as the original . . . despite some visual virtues , 'blade ii' just doesn't cut it .
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. . . plays like a badly edited , 91-minute trailer ( and ) the director can't seem to get a coherent rhythm going . in fact , it doesn't even seem like she tried .
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maybe leblanc thought , " hey , the movie about the baseball-playing monkey was worse . "
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what you expect is just what you get . . . assuming the bar of expectations hasn't been raised above sixth-grade height .
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barry sonnenfeld owes frank the pug big time
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the biggest problem with roger avary's uproar against the mpaa is that , even in all its director's cut glory , he's made a film that's barely shocking , barely interesting and most of all , barely anything .
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so riddled with unanswered questions that it requires gargantuan leaps of faith just to watch it plod along .
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i approached the usher and said that if she had to sit through it again , she should ask for a raise .
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earnest but heavy-handed .
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if sinise's character had a brain his ordeal would be over in five minutes but instead the plot goes out of its way to introduce obstacles for him to stumble over .
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too slow for a younger crowd , too shallow for an older one .
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there's a reason the studio didn't offer an advance screening . " the adventures of pluto nash " is a big time stinker .
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a punch line without a premise , a joke built entirely from musty memories of half-dimensional characters .
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takes one character we don't like and another we don't believe , and puts them into a battle of wills that is impossible to care about and isn't very funny .
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the things this movie tries to get the audience to buy just won't fly with most intelligent viewers .
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even if the enticing prospect of a lot of nubile young actors in a film about campus depravity didn't fade amid the deliberate , tiresome ugliness , it would be rendered tedious by avary's failure to construct a story with even a trace of dramatic interest .
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sitting through the last reel ( spoiler alert ! ) is significantly less charming than listening to a four-year-old with a taste for exaggeration recount his halloween trip to the haunted house .
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confuses its message with an ultimate desire to please , and contorting itself into an idea of expectation is the last thing any of these three actresses , nor their characters , deserve .
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deadly dull , pointless meditation on losers in a gone-to-seed hotel .
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with this new rollerball , sense and sensibility have been overrun by what can only be characterized as robotic sentiment .
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one can only assume that the jury who bestowed star hoffman's brother gordy with the waldo salt screenwriting award at 2002's sundance festival were honoring an attempt to do something different over actually pulling it off
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a movie more to be prescribed than recommended -- as visually bland as a dentist's waiting room , complete with soothing muzak and a cushion of predictable narrative rhythms .
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sex ironically has little to do with the story , which becomes something about how lame it is to try and evade your responsibilities and that you should never , ever , leave a large dog alone with a toddler . but never mind all that ; the boobs are fantasti
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the script covers huge , heavy topics in a bland , surfacey way that doesn't offer any insight into why , for instance , good things happen to bad people .
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a portrait of alienation so perfect , it will certainly succeed in alienating most viewers .
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the code talkers deserved better than a hollow tribute .
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skip the film and buy the philip glass soundtrack cd .
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feels like a cold old man going through the motions .
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dignified ceo's meet at a rustic retreat and pee against a tree . can you bear the laughter ?
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dull and mechanical , kinda like a very goofy museum exhibit
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there's no point of view , no contemporary interpretation of joan's prefeminist plight , so we're left thinking the only reason to make the movie is because present standards allow for plenty of nudity .
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beware the quirky brit-com . they can and will turn on a dime from oddly humorous to tediously sentimental .
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has its moments -- and almost as many subplots .
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the gags , and the script , are a mixed bag .
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