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virtually no aftertaste
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the chateau belongs to rudd , whose portrait of a therapy-dependent flakeball spouting french malapropisms ... is a nonstop hoot
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usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography
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a stunning new young talent in one of chabrol 's most intense psychological mysteries
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does probably as good a job as anyone
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a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness
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the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions , shows all the signs of rich detail condensed into a few evocative images and striking character traits .
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first full flush
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mtv schmucks who do n't know how to tell a story for more than four minutes
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what starts off as a satisfying kids flck becomes increasingly implausible as it races through contrived plot points .
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i ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents ...
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a hit - and-miss affair , consistently amusing but not as outrageous or funny as cho may have intended or as imaginative as one might have hoped .
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the leaping story line , shaped by director peter kosminsky into sharp slivers and cutting impressions
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the bad sound , the lack of climax and , worst of all
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as a director , paxton is surprisingly brilliant , deftly sewing together what could have been a confusing and horrifying vision into an intense and engrossing head-trip .
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a genuinely funny ensemble comedy that also asks its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives
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created a film that one can honestly describe as looking , sounding and simply feeling like no other film in recent history
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the full monty was a freshman fluke
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that works as a treatise on spirituality as well as a solid sci-fi thriller
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such an incomprehensible mess that it feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema .
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is terrific as rachel
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falling short as a whole
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is smarter and subtler than ( total recall and blade runner ) , although its plot may prove too convoluted for fun-seeking summer audiences
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touching , smart and complicated
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flopped as surely as a soufflé gone wrong
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a sensitive , modest comic tragedy that works as both character study and symbolic examination of the huge economic changes sweeping modern china
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a silly hack-and-slash flick
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bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama
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our most flamboyant female comics
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a slam-bang extravaganza that is all about a wild-and-woolly , wall-to-wall good time .
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mired in a shabby script that piles layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work
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spanning nearly three decades of bittersweet camaraderie and history , in which we feel that we truly know what makes holly and marina tick
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go your emotions , taking them to surprising highs , sorrowful lows and hidden impulsive niches ... gorgeous , passionate , and at times uncommonly moving
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delivers a terrific performance in this fascinating portrait of a modern lothario
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rather thin moral
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been any easier to sit through than this hastily dubbed disaster
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this is grand-scale moviemaking for a larger-than-life figure , an artist who has been awarded mythic status in contemporary culture .
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, we get an ugly , mean-spirited lashing out by an adult who 's apparently been forced by his kids to watch too many barney videos .
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writer-director randall wallace has bitten off more than he or anyone else could chew , and his movie veers like a drunken driver through heavy traffic
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the film ... presents classic moral-condundrum drama : what would you have done to survive ?
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as solid and as perfect as his outstanding performance as bond in die
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not as well-written as sexy beast , not as gloriously flippant as lock , stock and two smoking barrels , but stylish and moody and exceptionally well-acted .
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layer upon layer of action man cliché atop wooden dialogue and a shifting tone that falls far short of the peculiarly moral amorality of ( woo 's ) best work
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been saved if the director , tom dey , had spliced together bits and pieces of midnight run and 48 hours ( and , for that matter , shrek )
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a predictable , manipulative stinker .
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captures , in luminous interviews and amazingly evocative film from three decades ago ,
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is loopy and ludicrous ... that it could have been a hoot in a bad-movie way if the laborious pacing and endless exposition had been tightened
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begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents
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falls flat as thinking man
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awkwardly contrived exercise
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to include every top-notch british actor who did not appear in gosford park ( as well as one , ms. mirren , who did )
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the script by david koepp is perfectly serviceable and because he gives the story some soul ... he elevates the experience to a more mythic level
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explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere
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downbeat , period-perfect biopic hammers home a heavy-handed moralistic message
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an accuracy of observation in the work of the director , frank novak , that keeps the film grounded in an undeniable social realism
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forces you to ponder anew what a movie can be
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's as lumpy as two-day old porridge ... the filmmakers ' paws , sad to say , were all over this `` un-bear-able '' project
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it 's also not smart or barbed enough for older viewers -- not everyone thinks poo-poo jokes are ` edgy .
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becomes the last thing you would expect from a film with this title or indeed from any plympton film : boring
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a terrifically entertaining specimen
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an enjoyable feel-good family comedy
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tawdry trash
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steal a movie not only from charismatic rising star jake gyllenhaal but also from accomplished oscar winners susan sarandon , dustin hoffman and holly hunter , yet newcomer ellen pompeo pulls off the feat with aplomb
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nights feels more like a quickie tv special than a feature film ... it 's not even a tv special you 'd bother watching past the second commercial break
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a surprisingly flat retread , hobbled by half-baked setups and sluggish pacing .
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's not scary , not smart and not engaging
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to a series of standup routines in which wilson and murphy show how funny they could have been in a more ambitious movie
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funny in the way that makes you ache with sadness ( the way chekhov is funny ) , profound without ever being self-important , warm without ever succumbing to sentimentality
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comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness .
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is simply too ludicrous and borderline insulting
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the film has a nearly terminal case of the cutes , and it 's neither as funny nor as charming as it thinks it is .
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feels less like bad cinema than like being stuck in a dark pit having a nightmare about bad cinema
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as chilling and fascinating as philippe mora 's modern hitler-study
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turd
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this loose collection of largely improvised numbers would probably have worked better as a one-hour tv documentary .
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about as enjoyable
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that memorable
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ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents
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an enthralling aesthetic experience , one that 's steeped in mystery and a ravishing , baroque beauty
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often hilarious
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a perceptive study of two families in crisis -- and of two girls whose friendship is severely tested by bad luck and their own immaturity
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still show virtually no understanding of it
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this is an undeniably intriguing film from an adventurous young talent who finds his inspiration on the fringes of the american underground .
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the director , frank novak , that keeps the film grounded in an undeniable social realism
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a tired , predictable , bordering on offensive , waste of time , money and celluloid .
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put to perfect use in the breathtakingly beautiful outer-space documentary space station 3d
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more interested in entertaining itself than in amusing us
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sc2 is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit , yet
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signing
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death to smoochy tells a moldy-oldie , not-nearly - as-nasty - as-it - thinks-it-is joke .
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an intermittently good time
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utterly convincing -- and deeply appealing -- as a noble teacher who embraces a strict moral code
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a lot of fun , with an undeniable energy sparked by two actresses in their 50s working at the peak of their powers .
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an uninspired preachy and clichéd war
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here his sense of story and his juvenile camera movements smack of a film school undergrad , and his maudlin ending might not have gotten him into film school in the first place
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in the pile of useless actioners from mtv schmucks who do n't know how to tell a story for more than four minutes
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whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau
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during sunset
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meandering , norton has to recite bland police procedural details , fiennes wanders around in an attempt to seem weird and distanced , hopkins looks like a drag queen
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engrossing piece
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