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every bad action-movie line in history
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sprinkled with a few remarks so geared toward engendering audience sympathy
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family-oriented
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his impressions of life and loss and time and art with us
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is a diverting -- if predictable -- adventure suitable for a matinee ,
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the director 's many dodges and turns
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in this woefully hackneyed movie , directed by scott kalvert , about street gangs and turf wars in 1958 brooklyn -- stale cliches , gratuitous violence , or empty machismo
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scenic splendor
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while the highly predictable narrative falls short , treasure planet is truly gorgeous to behold .
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labors as storytelling .
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that are powerful and moving without stooping to base melodrama
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shaky , uncertain film
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trickery
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troubling and powerful
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predictable and
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all the characters are clinically depressed and have abandoned their slim hopes and dreams .
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an inuit masterpiece
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clever ideas and visual gags
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the one-liners are snappy , the situations volatile
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being real
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jaw-dropping action sequences , striking villains , a gorgeous color palette , astounding technology , stirring music and
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the promise of digital filmmaking
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is too blatant
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is nicholson 's goofy , heartfelt , mesmerizing king lear .
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any art-house moviegoer is likely to find compelling
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has nothing
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makes a nice album
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is n't afraid to try any genre and to do it his own way
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they ca n't distract from the flawed support structure holding equilibrium up
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the artist as an endlessly inquisitive old man
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works well enough
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an almost palpable sense of intensity
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an eloquent memorial
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in fact , even better .
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family movie
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( dong ) makes a valiant effort to understand everyone 's point of view , and
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textbook lives
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sports
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as immaculate as stuart little 2 is , it could be a lot better if it were , well , more adventurous .
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a half dozen
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is impossible to find the film anything but
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the filmmaker 's extraordinary access to massoud ,
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vividly detailed story about newcomers in a strange new world
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seem like a recycling of clichés , an assassin 's greatest hits
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of the most purely enjoyable and satisfying evenings at the movies i 've had in a while
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ultimate x is the gabbiest giant-screen movie ever , bogging down in a barrage of hype .
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fans of sandler 's comic taste may find it uninteresting
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's a fun one .
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sordid of human behavior on the screen ,
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miracle
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, like silence , it 's a movie that gets under your skin .
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deft and subtle poetry
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makes the movie fresh
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well worth revisiting as many times
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offers chills much like those that you get when sitting around a campfire around midnight , telling creepy stories to give each other the willies
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she-cute
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very little story or character
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a numbingly dull experience
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plot , characters ,
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nelson 's intentions are good
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offers much to absorb and even more to think about after the final frame
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evolve
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windtalkers airs just about every cliche in the war movie compendium across its indulgent two-hour-and-fifteen-minute length .
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badly edited , 91-minute trailer
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has the usual impossible stunts
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slapstick
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beaten
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releasing a film with the word ` dog ' in its title in january lends itself to easy jokes and insults
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it is were it not for the striking , quietly vulnerable personality of ms. ambrose
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is too long with too little going on
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the high-concept scenario soon proves preposterous , the acting is robotically italicized , and truth-in-advertising hounds take note
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gloriously
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for proof of that on the cinematic front , look no further than this 20th anniversary edition of the film that spielberg calls , retrospectively , his most personal work yet .
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lying if i said my ribcage did n't ache by the end of kung pow
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ah-nuld 's
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is a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective .
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create something original
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of dreck
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have made every effort to disguise it as an unimaginative screenwriter 's invention
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of the avant-garde fused with their humor
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like a recycling of clichés , an assassin 's greatest hits
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salvation
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an ugly-duckling tale so hideously and clumsily told it feels accidental .
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most pitiful directing
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seems to be missing a great deal of the acerbic repartee of the play . ''
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unrelentingly grim
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mendes still does n't quite know how to fill a frame .
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culture-clash comedy
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transforms this story about love and culture
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's the perfect cure for insomnia
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contrasting the sleekness of the film 's present with the playful paranoia of the film 's past
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i found it weirdly appealing
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discovery and humor
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what lifts the film high above run-of-the-filth gangster flicks is its refusal to recognize any of the signposts , as if discovering a way through to the bitter end without a map .
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, masterful
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succeeds where its recent predecessor miserably
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such exuberance and passion
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loneliness and isolation
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attal 's hang-ups surrounding infidelity are so old-fashioned and , dare i say , outdated ,
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tartakovsky 's team has some freakish powers of visual charm ,
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