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mattymchen
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Dataset card Data Studio Files
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sensitively examines general issues of race and justice among the poor , and specifically raises serious questions about the death penalty and asks what good the execution of a mentally challenged woman could possibly do .
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horns and halos benefits from serendipity but also reminds us of our own responsibility to question what is told as the truth .
1
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 .
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surprisingly insightful
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they crush each other under cars , throw each other out windows , electrocute and dismember their victims in full consciousness . and we do n't avert our eyes for a moment .
1
a really good premise is frittered away in middle-of-the-road blandness .
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what might have been readily dismissed as the tiresome rant of an aging filmmaker still thumbing his nose at convention takes a surprising , subtle turn at the midway point .
1
dogtown & z-boys evokes the blithe rebel fantasy with the kind of insouciance embedded in the sexy demise of james dean .
1
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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'yes , that 's right : it 's forrest gump , angel of death . '
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despite slick production values and director roger michell 's tick-tock pacing , the final effect is like having two guys yelling in your face for two hours .
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there are some movies that hit you from the first scene and you know it 's going to be a trip . igby goes down is one of those movies .
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unwieldy contraption .
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the narrator and the other characters try to convince us that acting transfigures esther , but she 's never seen speaking on stage ; one feels cheated , and esther seems to remain an unchanged dullard .
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an engrossing portrait of a man whose engaging manner and flamboyant style made him a truly larger-than-life character .
1
despite the 2-d animation , the wild thornberrys movie makes for a surprisingly cinematic experience .
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'alice 's adventure through the looking glass and into zombie-land ' is filled with strange and wonderful creatures .
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gloriously straight from the vagina .
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with the film 's striking ending , one realizes that we have a long way to go before we fully understand all the sexual permutations involved .
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intriguing documentary which is emotionally diluted by focusing on the story 's least interesting subject .
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alan and his fellow survivors are idiosyncratic enough to lift the movie above its playwriting 101 premise .
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surprisingly , considering that baird is a former film editor , the movie is rather choppy .
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when you resurrect a dead man , hard copy should come a-knocking , no ?
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while the resident evil games may have set new standards for thrills , suspense , and gore for video games , the movie really only succeeds in the third of these .
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i was sent a copyof this film to review on dvd . for free . i still want my money back .
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stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish , dumb fart jokes .
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thought-provoking and stylish , if also somewhat hermetic .
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just too silly and sophomoric to ensnare its target audience .
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one of the most significant moviegoing pleasures of the year .
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star wars is back in a major way .
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showtime 's starry cast could be both an asset and a detriment . those who trek to the 'plex predisposed to like it probably will enjoy themselves . but ticket-buyers with great expectations will wind up as glum as mr . de niro .
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the parts are better than the whole ( bizarre , funny , tragic - like love in new york ) .
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. . . less a story than an inexplicable nightmare , right down to the population 's shrugging acceptance to each new horror .
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this is a great subject for a movie , but hollywood has squandered the opportunity , using it as a prop for warmed-over melodrama and the kind of choreographed mayhem that director john woo has built his career on .
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the characters , cast in impossibly contrived situations , are totally estranged from reality .
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you can fire a torpedo through some of clancy 's holes , and the scripters do n't deserve any oscars . but the nerve-raked acting , the crackle of lines , the impressive stagings of hardware , make for some robust and scary entertainment .
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showtime is one of the hapless victims of the arrogant `` if we put together a wry white man and a chatty black man and give them guns , the movie will be funny `` syndrome .
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a sentimental but entirely irresistible portrait of three aging sisters .
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. . . liotta is put in an impossible spot because his character 's deceptions ultimately undo him and the believability of the entire scenario . too bad .
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instead of kicking off the intrigue and suspense and mystery of the whole thing , hart 's war , like the st . louis rams in the super bowl , waits until after halftime to get started .
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the element of surprise might be the only thing femme fatale has going for it .
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what 'blade runner ' would 've looked like as a low-budget series on a uhf channel .
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much of the digitally altered footage appears jagged , as if filmed directly from a television monitor , while the extensive use of stock footage quickly becomes a tiresome clichM-i .
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gere gives a good performance in a film that does n't merit it .
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chicago offers much colorful eye candy , including the spectacle of gere in his dancing shoes , hoofing and crooning with the best of them .
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welles groupie/scholar peter bogdanovich took a long time to do it , but he 's finally provided his own broadside at publishing giant william randolph hearst .
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i would be shocked if there was actually one correct interpretation , but that should n't make the movie or the discussion any less enjoyable .
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'anyone with a passion for cinema , and indeed sex , should see it as soon as possible . '
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director benoit jacquot , making his first opera-to-film translation with tosca , conveys the heaving passion of puccini 's famous love-jealousy- murder-suicide fandango with great cinematic innovation .
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just the sort of lazy tearjerker that gives movies about ordinary folk a bad name .
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films about loss , grief and recovery are pretty valuable these days . seen in that light , moonlight mile should strike a nerve in many .
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i walked away not really know who `` they `` were , what `` they `` looked like . why `` they `` were here and what `` they `` wanted and quite honestly , i did n't care .
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. . . an incredibly heavy-handed , manipulative dud that feels all too familiar .
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it 's sort of a 21st century morality play with a latino hip hop beat . but the second half of the movie really goes downhill .
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we know the plot 's a little crazy , but it held my interest from start to finish .
1
despite the predictable parent vs . child coming-of-age theme , first-class , natural acting and a look at `` the real americans `` make this a charmer .
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for the most part stevens glides through on some solid performances and witty dialogue .
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a funny , triumphant , and moving documentary .
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human nature , in short , is n't nearly as funny as it thinks it is ; neither is it as smart .
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so-so entertainment .
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a weird and wonderful comedy .
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though overall an overwhelmingly positive portrayal , the film does n't ignore the more problematic aspects of brown 's life .
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shankman . . . and screenwriter karen janszen bungle their way through the narrative as if it were a series of bible parables and not an actual story .
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i enjoyed the movie in a superficial way , while never sure what its purpose was .
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it may be about drug dealers , kidnapping , and unsavory folks , but the tone and pacing are shockingly intimate .
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a beguiling evocation of the quality that keeps dickens evergreen : the exuberant openness with which he expresses our most basic emotions .
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for more than two decades mr . nachtwey has traveled to places in the world devastated by war , famine and poverty and documented the cruelty and suffering he has found with an devastating , eloquent clarity .
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though of particular interest to students and enthusiast of international dance and world music , the film is designed to make viewers of all ages , cultural backgrounds and rhythmic ability want to get up and dance .
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for those who are intrigued by politics of the '70s , the film is every bit as fascinating as it is flawed .
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late marriage 's stiffness is unlikely to demonstrate the emotional clout to sweep u . s . viewers off their feet .
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mM-|nch 's genuine insight makes the film 's occasional overindulgence forgivable .
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the film exudes the urbane sweetness that woody allen seems to have bitterly forsaken .
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while american adobo has its heart ( and its palate ) in the right place , its brain is a little scattered -- ditsy , even .
0
the feature-length stretch . . . strains the show 's concept .
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some movies are like a tasty hors-d'oeuvre ; this one is a feast .
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the movie is beautiful to behold and engages one in a sense of epic struggle -- inner and outer -- that 's all too rare in hollywood 's hastier productions .
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it is different from others in its genre in that it is does not rely on dumb gags , anatomical humor , or character cliches ; it primarily relies on character to tell its story .
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pretend like your sat scores are below 120 and you might not notice the flaws .
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hugh grant , who has a good line in charm , has never been more charming than in about a boy .
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una pelM-mcula oscura , precisa , por momentos grandiosa y casi siempre conmovedora .
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plays like a checklist of everything rob reiner and his cast were sending up .
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. . . a fascinating curiosity piece -- fascinating , that is , for about ten minutes . after that it becomes long and tedious like a classroom play in a college history course .
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to blandly go where we went 8 movies ago . . .
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plot , characters , drama , emotions , ideas -- all are irrelevant to the experience of seeing the scorpion king .
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a thriller without a lot of thrills .
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although some viewers will not be able to stomach so much tongue-in-cheek weirdness , those who do will have found a cult favorite to enjoy for a lifetime .
1
[ allen 's ] been making piffle for a long while , and hollywood ending may be his way of saying that piffle is all that the airhead movie business deserves from him right now .
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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 .
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this romantic thriller is steeped in the atmosphere of wartime england , and ably captures the speech patterns , moral codes and ideals of the 1940s .
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if you 're content with a clever pseudo-bio that manages to have a good time as it doles out pieces of the famous director 's life , eisenstein delivers .
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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 tonal shifts are jolting , and though wen 's messages are profound and thoughtfully delivered , more thorough transitions would have made the film more cohesive .
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the asylum material is gripping , as are the scenes of jia with his family .
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the only thing that distinguishes a randall wallace film from any other is the fact that there is nothing distinguishing in a randall wallace film .
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dark and unrepentant , this excursion into the epicenter of percolating mental instability is not easily dismissed or forgotten .
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from the dull , surreal ache of mortal awareness emerges a radiant character portrait .
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an inspiring and heart-affecting film about the desperate attempts of vietnamese refugees living in u . s . relocation camps to keep their hopes alive in 1975 .
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her fans walked out muttering words like `` horrible `` and `` terrible , `` but had so much fun dissing the film that they did n't mind the ticket cost . in this case zero .
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when it comes to the battle of hollywood vs . woo , it looks like woo 's a p . o . w .
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if it were any more of a turkey , it would gobble in dolby digital stereo . if nothing else , `` rollerball `` 2002 may go down in cinema history as the only movie ever in which the rest of the cast was outshined by ll cool j .
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