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Dataset card Data Studio Files Community
reviews
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completely awful iranian drama . . . as much fun as a grouchy ayatollah in a cold mosque .
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narratively , trouble every day is a plodding mess .
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there's no point in extracting the bare bones of byatt's plot for purposes of bland hollywood romance .
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directors john musker and ron clements , the team behind the little mermaid , have produced sparkling retina candy , but they aren't able to muster a lot of emotional resonance in the cold vacuum of space .
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adam sandler's heart may be in the right place , but he needs to pull his head out of his butt
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there's no doubting that this is a highly ambitious and personal project for egoyan , but it's also one that , next to his best work , feels clumsy and convoluted .
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despite engaging offbeat touches , knockaround guys rarely seems interested in kicking around a raison d'etre that's as fresh-faced as its young-guns cast .
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it's all pretty tame . the most offensive thing about the movie is that hollywood expects people to pay to see it .
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the movie is a mess from start to finish .
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the trouble with making this queen a thoroughly modern maiden is that it also makes her appear foolish and shallow rather than , as was more likely , a victim of mental illness .
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i'm not saying that ice age doesn't have some fairly pretty pictures , but there's not enough substance in the story to actually give them life .
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in the telling of a story largely untold , bui chooses to produce something that is ultimately suspiciously familiar .
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the plot is nothing but boilerplate clichés from start to finish , and the script assumes that not only would subtlety be lost on the target audience , but that it's also too stupid to realize that they've already seen this exact same movie a hundred times
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terminally brain dead production .
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some episodes work , some don't .
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beautifully filmed and well acted . . . but admittedly problematic in its narrative specifics .
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j . lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she's a pretty woman , but she's no working girl .
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rymer doesn't trust laughs -- and doesn't conjure proper respect for followers of the whole dead-undead genre , who deserve more from a vampire pic than a few shrieky special effects .
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not only are the film's sopranos gags incredibly dated and unfunny , they also demonstrate how desperate the makers of this 'we're -doing-it-for -the-cash' sequel were .
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wow . i have not been this disappointed by a movie in a long time .
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off the hook is overlong and not well-acted , but credit writer-producer-director adam watstein with finishing it at all .
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it's a drag how nettelbeck sees working women -- or at least this working woman -- for whom she shows little understanding .
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watching harris ham it up while physically and emotionally disintegrating over the course of the movie has a certain poignancy in light of his recent death , but boyd's film offers little else of consequence .
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it's also curious to note that this film , like the similarly ill-timed antitrust , is easily as bad at a fraction the budget .
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'ejemplo de una cinta en que no importa el talento de su reparto o lo interesante que pudo haber resultado su premisa , pues el resultado es francamente aburrido y , por momentos , deplorable . '
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will probably be one of those movies barely registering a blip on the radar screen of 2002 .
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the problem is not that it's all derivative , because plenty of funny movies recycle old tropes . the problem is that van wilder does little that is actually funny with the material .
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there's nothing interesting in unfaithful whatsoever .
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none of this is half as moving as the filmmakers seem to think .
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a processed comedy chop suey .
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as spent screen series go , star trek : nemesis is even more suggestive of a 65th class reunion mixer where only eight surviving members show up -- and there's nothing to drink .
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fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix .
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full of the kind of obnoxious chitchat that only self-aware neurotics engage in .
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an erotic thriller that's neither too erotic nor very thrilling , either .
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the movie , like bartleby , is something of a stiff -- an extra-dry office comedy that seems twice as long as its 83 minutes .
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with its parade of almost perpetually wasted characters . . . margarita feels like a hazy high that takes too long to shake .
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if you value your time and money , find an escape clause and avoid seeing this trite , predictable rehash .
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the director and her capable cast appear to be caught in a heady whirl of new age-inspired good intentions , but the spell they cast isn't the least bit mesmerizing .
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everything is pegged into the groove of a new york dating comedy with 'issues' to simplify .
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a dramatic comedy as pleasantly dishonest and pat as any hollywood fluff .
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the cameo-packed , m : i-2-spoofing title sequence is the funniest 5 minutes to date in this spy comedy franchise . . . then mike myers shows up and ruins everything .
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it comes off as so silly that you wouldn't be surprised if ba , murdock and rest of the a-team were seen giving chase in a black and red van .
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the 50-something lovebirds are too immature and unappealing to care about .
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so genial is the conceit , this is one of those rare pictures that you root for throughout , dearly hoping that the rich promise of the script will be realized on the screen . it never is , not fully .
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even in the summertime , the most restless young audience deserves the dignity of an action hero motivated by something more than franchise possibilities .
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what with all the blanket statements and dime-store ruminations on vanity , the worries of the rich and sudden wisdom , the film becomes a sermon for most of its running time .
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one lousy movie .
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as gamely as the movie tries to make sense of its title character , there remains a huge gap between the film's creepy , clean-cut dahmer ( jeremy renner ) and fiendish acts that no amount of earnest textbook psychologizing can bridge .
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plodding , peevish and gimmicky .
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the four feathers is definitely horse feathers , but if you go in knowing that , you might have fun in this cinematic sandbox .
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oozes condescension from every pore .
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solaris " is a shapeless inconsequential move relying on the viewer to do most of the work .
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the direction , by george hickenlooper , has no snap to it , no wiseacre crackle or hard-bitten cynicism .
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. . . hypnotically dull .
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though this saga would be terrific to read about , it is dicey screen material that only a genius should touch .
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it has plenty of laughs . it just doesn't have much else . . . especially in a moral sense .
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an awful lot like one of [spears'] music videos in content -- except that it goes on for at least 90 more minutes and , worse , that you have to pay if you want to see it .
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confusion is one of my least favourite emotions , especially when i have to put up with 146 minutes of it .
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[h]ad i suffered and bled on the hard ground of ia drang , i'd want something a bit more complex than we were soldiers to be remembered by .
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occasionally loud and offensive , but more often , it simply lulls you into a gentle waking coma .
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it may play well as a double feature with mainstream foreign mush like my big fat greek wedding
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by the time you reach the finale , you're likely wondering why you've been watching all this strutting and posturing .
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journalistically dubious , inept and often lethally dull .
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putting the primitive murderer inside a high-tech space station unleashes a pandora's box of special effects that run the gamut from cheesy to cheesier to cheesiest .
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at its best , it's black hawk down with more heart . at its worst , it's rambo- meets-john ford .
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exactly what you'd expect from a guy named kaos .
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calculated swill .
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this movie . . . doesn't deserve the energy it takes to describe how bad it is .
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with or without ballast tanks , k-19 sinks to a harrison ford low .
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director oliver parker labors so hard to whip life into the importance of being earnest that he probably pulled a muscle or two .
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you might be shocked to discover that seinfeld's real life is boring .
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it's not nearly as fresh or enjoyable as its predecessor , but there are enough high points to keep this from being a complete waste of time .
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walsh can't quite negotiate the many inconsistencies in janice's behavior or compensate for them by sheer force of charm .
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this 10th film in the series looks and feels tired .
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it leers , offering next to little insight into its intriguing subject .
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i found myself growing more and more frustrated and detached as vincent became more and more abhorrent .
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one of the oddest and most inexplicable sequels in movie history .
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there's nothing to gain from watching they . it isn't scary . it hates its characters . it finds no way to entertain or inspire its viewers .
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fear permeates the whole of stortelling , todd solondz' oftentimes funny , yet ultimately cowardly autocritique .
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the skirmishes for power waged among victims and predators settle into an undistinguished rhythm of artificial suspense .
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thoroughly awful .
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. . . ice age treads predictably along familiar territory , making it a passable family film that won't win many fans over the age of 12 .
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though the film is well-intentioned , one could rent the original and get the same love story and parable .
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just too silly and sophomoric to ensnare its target audience .
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the video work is so grainy and rough , so dependent on being 'naturalistic' rather than carefully lit and set up , that it's exhausting to watch .
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truly terrible .
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a cleverly crafted but ultimately hollow mockumentary .
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it gets bogged down by hit-and-miss topical humour before getting to the truly good stuff .
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an achingly enthralling premise , the film is hindered by uneven dialogue and plot lapses .
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it's tommy's job to clean the peep booths surrounding her , and after viewing this one , you'll feel like mopping up , too .
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rifkin no doubt fancies himself something of a hubert selby jr . , but there isn't an ounce of honest poetry in his entire script ; it's simply crude and unrelentingly exploitative .
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fluffy and disposible .
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such a bad movie that its luckiest viewers will be seated next to one of those ignorant pinheads who talk throughout the show .
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if you go into the theater expecting a scary , action-packed chiller , you might soon be looking for a sign . an exit sign , that is .
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holds limited appeal to those who like explosions , sadism and seeing people beat each other to a pulp .
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the dialogue is very choppy and monosyllabic despite the fact that it is being dubbed .
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a feature-length , r-rated , road-trip version of mama's family .
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what you end up getting is the vertical limit of surfing movies - memorable stunts with lots of downtime in between .
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stealing harvard doesn't care about cleverness , wit or any other kind of intelligent humor .
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bigelow handles the nuclear crisis sequences evenly but milks drama when she should be building suspense , and drags out too many scenes toward the end that should move quickly .
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