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|---|---|---|---|
200 | 200 |
told in scattered fashion
| 0 |
201 | 201 |
takes chances that are bold by studio standards
| 1 |
202 | 202 |
believe it or not , jason actually takes a backseat in his own film to special effects
| 0 |
203 | 203 |
only thing to fear about `` fear dot com ''
| 0 |
204 | 204 |
whole mess
| 0 |
205 | 205 |
manages to infuse the rocky path to sibling reconciliation with flashes of warmth and gentle humor
| 1 |
206 | 206 |
working from a surprisingly sensitive script co-written by gianni romoli ... ozpetek avoids most of the pitfalls you 'd expect in such a potentially sudsy set-up .
| 1 |
207 | 207 |
a résumé loaded with credits like `` girl in bar # 3
| 0 |
208 | 208 |
enjoy the ride
| 1 |
209 | 209 |
very little to add beyond the dark visions already relayed by superb recent predecessors
| 0 |
210 | 210 |
the , yes , snail-like pacing
| 0 |
211 | 211 |
an extremely unpleasant film .
| 0 |
212 | 212 |
if it is n't entirely persuasive , it does give exposure to some talented performers
| 1 |
213 | 213 |
the whole affair , true story or not , feels incredibly hokey ...
| 0 |
214 | 214 |
are all things we 've seen before
| 0 |
215 | 215 |
poignant and leavened
| 1 |
216 | 216 |
breathless anticipation
| 1 |
217 | 217 |
significantly better
| 1 |
218 | 218 |
as predictable as the tides
| 0 |
219 | 219 |
bewilderingly brilliant and entertaining
| 1 |
220 | 220 |
it 's smooth and professional
| 1 |
221 | 221 |
, unassuming , subordinate
| 0 |
222 | 222 |
the horror
| 0 |
223 | 223 |
a technically superb film
| 1 |
224 | 224 |
the positive change in tone here seems to have recharged him .
| 1 |
225 | 225 |
pays earnest homage to turntablists and beat jugglers , old schoolers and current innovators
| 1 |
226 | 226 |
a dim
| 0 |
227 | 227 |
, vicious and absurd
| 0 |
228 | 228 |
because he acts so goofy all the time
| 0 |
229 | 229 |
to a kinetic life so teeming that even cranky adults may rediscover the quivering kid inside
| 1 |
230 | 230 |
's at once laughable and compulsively watchable ,
| 1 |
231 | 231 |
merit its 103-minute length
| 1 |
232 | 232 |
the value and respect for the term epic cinema
| 1 |
233 | 233 |
as a dentist 's waiting room
| 0 |
234 | 234 |
showing honest emotions
| 1 |
235 | 235 |
amazingly lame .
| 0 |
236 | 236 |
confessions may not be a straightforward bio
| 0 |
237 | 237 |
seems a disappointingly thin slice of lower-class london life ; despite the title ... amounts to surprisingly little
| 0 |
238 | 238 |
the story is bogus and
| 0 |
239 | 239 |
this comic gem is as delightful as it is derivative .
| 1 |
240 | 240 |
to spare wildlife
| 1 |
241 | 241 |
ugly as the shabby digital photography
| 0 |
242 | 242 |
understand the difference between dumb fun and just plain dumb
| 0 |
243 | 243 |
traditionally structured
| 1 |
244 | 244 |
frida is n't that much different from many a hollywood romance .
| 0 |
245 | 245 |
does point the way for adventurous indian filmmakers toward a crossover into nonethnic markets .
| 1 |
246 | 246 |
are worth the price of admission ... if `` gory mayhem '' is your idea of a good time
| 1 |
247 | 247 |
was produced by jerry bruckheimer and directed by joel schumacher , and reflects the worst of their shallow styles : wildly overproduced , inadequately motivated every step of the way and demographically targeted to please every one ( and no one )
| 0 |
248 | 248 |
carnage and
| 0 |
249 | 249 |
degraded , handheld blair witch video-cam footage
| 0 |
250 | 250 |
second fiddle
| 0 |
251 | 251 |
about the folly of superficiality that is itself
| 0 |
252 | 252 |
serves as auto-critique , and its clumsiness as its own most damning censure .
| 0 |
253 | 253 |
tedious norwegian offering which somehow snagged an oscar nomination .
| 0 |
254 | 254 |
, esther kahn is unusual but unfortunately also irritating .
| 0 |
255 | 255 |
a stylish exercise
| 1 |
256 | 256 |
halfway through this picture i was beginning to hate it
| 0 |
257 | 257 |
a setup so easy it borders on facile
| 0 |
258 | 258 |
a thoroughly awful movie
| 0 |
259 | 259 |
takes hold and grips hard
| 1 |
260 | 260 |
look smeary and blurry , to the point of distraction
| 0 |
261 | 261 |
the picture 's fascinating byways
| 1 |
262 | 262 |
guns , cheatfully filmed martial arts , disintegrating bloodsucker computer effects and jagged camera moves
| 0 |
263 | 263 |
breezy , distracted rhythms
| 0 |
264 | 264 |
than this mess
| 0 |
265 | 265 |
evanescent , seamless and sumptuous stream
| 1 |
266 | 266 |
slick and manufactured to claim street credibility .
| 1 |
267 | 267 |
take care is nicely performed by a quintet of actresses ,
| 1 |
268 | 268 |
valuable messages
| 1 |
269 | 269 |
in no small part thanks to lau
| 1 |
270 | 270 |
two guys who desperately want to be quentin tarantino when they grow up
| 0 |
271 | 271 |
no new plot conceptions
| 0 |
272 | 272 |
essentially a collection of bits --
| 0 |
273 | 273 |
does n't bode well for the rest of it
| 0 |
274 | 274 |
elevated by it -- the kind of movie
| 1 |
275 | 275 |
usual worst
| 0 |
276 | 276 |
hugh grant , who has a good line in charm
| 1 |
277 | 277 |
arrive early and stay late
| 1 |
278 | 278 |
is a pan-american movie , with moments of genuine insight into the urban heart .
| 1 |
279 | 279 |
i could have used my two hours better watching being john malkovich again .
| 0 |
280 | 280 |
shot in artful , watery tones of blue , green and brown
| 1 |
281 | 281 |
an unorthodox little film noir organized crime story that includes one of the strangest
| 1 |
282 | 282 |
considerable aplomb
| 1 |
283 | 283 |
acted by diane lane and richard gere .
| 1 |
284 | 284 |
scant
| 0 |
285 | 285 |
an admittedly middling film
| 1 |
286 | 286 |
too ludicrous
| 0 |
287 | 287 |
the rock 's fighting skills are more in line with steven seagal
| 1 |
288 | 288 |
rich and full
| 1 |
289 | 289 |
warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal .
| 1 |
290 | 290 |
that uses a sensational , real-life 19th-century crime as a metaphor for
| 1 |
291 | 291 |
, home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face .
| 1 |
292 | 292 |
, the film retains ambiguities that make it well worth watching .
| 1 |
293 | 293 |
ultra-cheesy dialogue
| 0 |
294 | 294 |
added depth and resonance
| 1 |
295 | 295 |
the sensational
| 1 |
296 | 296 |
huge-screen format to make an old-fashioned nature film that educates viewers with words and pictures while entertaining them
| 1 |
297 | 297 |
handsome but unfulfilling suspense drama
| 0 |
298 | 298 |
's not very good either .
| 0 |
299 | 299 |
in her most charmless
| 0 |
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