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Saripudin

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sst_2_100

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some movies were made for the big screen , some for the small screen , and some , like ballistic : ecks vs. sever , were made for the palm screen .

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only masochistic moviegoers need apply .

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any rock pile will do for a set .

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though there are many tense scenes in trapped , they prove more distressing than suspenseful .

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pleasant but not more than recycled jock piffle .

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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 .

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the first hour is tedious though ford and neeson capably hold our interest , but its just not a thrilling movie .

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this is n't a new idea .

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diane lane 's sophisticated performance ca n't rescue adrian lyne 's unfaithful from its sleazy moralizing .

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a piece of mildly entertaining , inoffensive fluff that drifts aimlessly for 90 minutes before lodging in the cracks of that ever-growing category : unembarrassing but unmemorable .

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this latest installment of the horror film franchise that is apparently as invulnerable as its trademark villain has arrived for an incongruous summer playoff , demonstrating yet again that the era of the intelligent , well-made b movie is long gone .

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richard pryor mined his personal horrors and came up with a treasure chest of material , but lawrence gives us mostly fool 's gold .

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even accepting this in the right frame of mind can only provide it with so much leniency .

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while some will object to the idea of a vietnam picture with such a rah-rah , patriotic tone , soldiers ultimately achieves its main strategic objective : dramatizing the human cost of the conflict that came to define a generation .

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and for all the wrong reasons besides .

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nothing about them is attractive .

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it 's a movie that ends with truckzilla , for cryin ' out loud .

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no , even that 's too committed .

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you do n't need to know your ice-t 's from your cool-j 's to realize that as far as these shootings are concerned , something is rotten in the state of california .

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a movie where story is almost an afterthought amidst a swirl of colors and inexplicable events .

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a seriously bad film with seriously warped logic by writer-director kurt wimmer at the screenplay level .

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the film is strictly routine .

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-lrb- soderbergh -rrb- tends to place most of the psychological and philosophical material in italics rather than trust an audience 's intelligence , and he creates an overall sense of brusqueness .

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the film is really closer to porn than a serious critique of what 's wrong with this increasingly pervasive aspect of gay culture .

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rice never clearly defines his characters or gives us a reason to care about them .

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does n't get the job done , running off the limited chemistry created by ralph fiennes and jennifer lopez .

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` christian bale 's quinn -lrb- is -rrb- a leather clad grunge-pirate with a hairdo like gandalf in a wind-tunnel and a simply astounding cor-blimey-luv-a-duck cockney accent . '

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an exit sign , that is .

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a big fat pain .

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it 's also built on a faulty premise , one it follows into melodrama and silliness .

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the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .

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this dreadfully earnest inversion of the concubine love triangle eschews the previous film 's historical panorama and roiling pathos for bug-eyed mugging and gay-niche condescension .

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everything about it from the bland songs to the colorful but flat drawings is completely serviceable and quickly forgettable .

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go , girls , right down the reality drain .

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you can taste it , but there 's no fizz .

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potty-mouthed enough for pg-13 , yet not as hilariously raunchy as south park , this strangely schizo cartoon seems suited neither to kids or adults .

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like most of jaglom 's films , some of it is honestly affecting , but more of it seems contrived and secondhand .

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it makes me feel weird \/ thinking about all the bad things in the world \/ like puppies with broken legs \/ and butterflies that die \/ and movies starring pop queens

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to honestly address the flaws inherent in how medical aid is made available to american workers , a more balanced or fair portrayal of both sides will be needed .

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ultimately , sarah 's dedication to finding her husband seems more psychotic than romantic , and nothing in the movie makes a convincing case that one woman 's broken heart outweighs all the loss we witness .

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the film itself is about something very interesting and odd that would probably work better as a real documentary without the insinuation of mediocre acting or a fairly trite narrative .

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jaw-droppingly superficial , straining to get by on humor that is not even as daring as john ritter 's glory days on three 's company .

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would that greengrass had gone a tad less for grit and a lot more for intelligibility .

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it 's like a drive-by .

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it 's one thing to read about or rail against the ongoing - and unprecedented - construction project going on over our heads .

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

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gaghan ... has thrown every suspenseful cliché in the book at this nonsensical story .

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the whole thing comes off like a particularly amateurish episode of bewitched that takes place during spring break .

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consider the film a celluloid litmus test for the intellectual and emotional pedigree of your date and a giant step backward for a director i admire .

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ultimately , the film never recovers from the clumsy cliché of the ugly american abroad , and the too-frosty exterior ms. paltrow employs to authenticate her british persona is another liability .

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this is not a classical dramatic animated feature , nor a hip , contemporary , in-jokey one .

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the film 's most improbable feat ?

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it 's hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful , self-satisfied 22-year-old girlfriend and an equally beautiful , self-satisfied 18-year-old mistress .

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interview with the assassin is structured less as a documentary and more as a found relic , and as such the film has a difficult time shaking its blair witch project real-time roots .

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obvious .

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maybe there 's a metaphor here , but figuring it out would n't make trouble every day any better .

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what could have been right at home as a nifty plot line in steven soderbergh 's traffic fails to arrive at any satisfying destination .

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laconic and very stilted in its dialogue , this indie flick never found its audience , probably because it 's extremely hard to relate to any of the characters .

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a jumbled fantasy comedy that did not figure out a coherent game plan at scripting , shooting or post-production stages .

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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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the whole affair , true story or not , feels incredibly hokey ... -lrb- it -rrb- comes off like a hallmark commercial .

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what 's infuriating about full frontal is that it 's too close to real life to make sense .

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the problem with `` xxx '' is that its own action is n't very effective .

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this bond film goes off the beaten path , not necessarily for the better .

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i could just feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay .

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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 .

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and people make fun of me for liking showgirls .

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contrasting the original ringu with the current americanized adaptation is akin to comparing the evil dead with evil dead ii

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if routine action and jokes like this are your cup of tea , then pay your $ 8 and get ready for the big shear .

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a movie that ca n't get sufficient distance from leroy 's delusions to escape their maudlin influence .

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an impenetrable and insufferable ball of pseudo-philosophic twaddle .

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the type of dumbed-down exercise in stereotypes that gives the -lrb- teen comedy -rrb- genre a bad name .

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perhaps a better celebration of these unfairly dismissed heroes would be a film that is n't this painfully forced , false and fabricated .

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not a strike against yang 's similarly themed yi yi , but i found what time ?

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despite its sincere acting , signs is just another unoriginal run of the mill sci-fi film with a flimsy ending and lots of hype .

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we 're left with a story that tries to grab us , only to keep letting go at all the wrong moments .

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sc2 is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit , yet it 's geared toward an audience full of masters of both .

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but it has an ambition to say something about its subjects , but not a willingness .

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shows moments of promise but ultimately succumbs to cliches and pat storytelling .

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it 's coherent , well shot , and tartly acted , but it wears you down like a dinner guest showing off his doctorate .

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it feels like very light errol morris , focusing on eccentricity but failing , ultimately , to make something bigger out of its scrapbook of oddballs .

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the one not-so-small problem with expecting is that the entire exercise has no real point .

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the laughs are as rare as snake foo yung .

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ultimately ... the movie is too heady for children , and too preachy for adults .

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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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it 's replaced by some dramatic scenes that are jarring and deeply out of place in what could have -lrb- and probably should have -rrb- been a lighthearted comedy .

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too slow for a younger crowd , too shallow for an older one .

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this is n't a movie ; it 's a symptom .

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report card : does n't live up to the exalted tagline - there 's definite room for improvement .

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and diesel is n't the actor to save it .

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attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say , outdated , it 's a wonder that he could n't have brought something fresher to the proceedings simply by accident .

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imagine susan sontag falling in love with howard stern .

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a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .

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i also believe that resident evil is not it .

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the biggest problem with satin rouge is lilia herself .

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the movie does such an excellent job of critiquing itself at every faltering half-step of its development that criticizing feels more like commiserating .

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it finds no way to entertain or inspire its viewers .

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like an afterschool special with costumes by gianni versace , mad love looks better than it feels .

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just when you think you are making sense of it , something happens that tells you there is no sense .

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the movie is like scorsese 's mean streets redone by someone who ignored it in favor of old ` juvenile delinquent ' paperbacks with titles like leather warriors and switchblade sexpot .

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