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) gorgeous
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it 's sort of in-between , and it works .
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last orders nurtures the multi-layers of its characters , allowing us to remember that life 's ultimately a gamble and last orders are to be embraced .
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sexism to monday morning that undercuts its charm
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that should be used to burn every print of the film
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writer and director otar iosseliani 's pleasant tale
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a college comedy that 's target audience has n't graduated from junior high school
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usual fluttering and stammering
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, imagination and insight
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film festival
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why a guy with his talent ended up in a movie this bad
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normally could n't care less
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does seem pretty unbelievable at times
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unnoticed
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is sordid and disgusting
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together ( time out and human resources ) establish mr. cantet as france 's foremost cinematic poet of the workplace
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's difficult to conceive of anyone who has reached puberty actually finding the characters in slackers or their antics amusing , let alone funny
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about a young woman 's face , and by casting an actress whose face projects that woman 's doubts and yearnings
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an auspicious feature debut for chaiken
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as beautiful , desirable ,
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that does n't even in passing mention political prisoners , poverty and the boat loads of people who try to escape the country
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the great films about movie love
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derivativeness
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does n't drag an audience down
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a sweet-tempered comedy that forgoes
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short-story quaint
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almost unbearably morbid
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classic cinema served up with heart and humor
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some cynical creeps
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are simply dazzling
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charming in comedies like american pie
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a gentle and engrossing character study .
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as inspiring
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the simpering soundtrack and editing more so
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a fan
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its screenplay serves as auto-critique , and its clumsiness as its own most damning censure .
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a far bigger , far more meaningful story
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authentically vague , but ultimately purposeless
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'm giving it thumbs down due to the endlessly repetitive scenes of embarrassment .
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i said my ribcage did n't ache by the end of kung pow
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enough clever and unexpected
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can be fertile sources of humor
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a real movie
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sympathy really belongs with any viewer forced to watch him try out so many complicated facial expressions
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take his smooth , shrewd , powerful act abroad
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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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highly recommended viewing for its courage , ideas , technical proficiency and great acting .
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looks as if it were made by a highly gifted 12-year-old instead of a grown man
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provides the drama that gives added clout to this doc
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wo n't feel cheated by the high infidelity of unfaithful
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everything is off .
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an hour-and-a-half-long commercial
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a drowsy drama infatuated by its own pretentious self-examination
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takes place in morton 's ever-watchful gaze
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the problem with antwone fisher
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denying that burns is a filmmaker with a bright future ahead of him
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this romantic comedy
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succeeds with its dark , delicate treatment of these characters and its unerring respect for them .
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is one of the greatest date movies in years .
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its courage , ideas
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hide new secretions from the parental units
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of soliloquies about nothing delivered by the former mr. drew barrymore
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the unsung heroes of 20th century
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about the benjamins evokes the bottom tier of blaxploitation flicks from the 1970s .
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so many red herrings , so many false scares
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the nonstop artifice
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plucks
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all movie long , city by the sea swings from one approach to the other , but in the end , it stays in formula -- which is a waste of de niro , mcdormand and the other good actors in the cast .
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ignorant
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, it 's as good as you remember .
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all the way to the credits
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yet , it still works .
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here his sense of story and his juvenile camera movements smack of a film school undergrad ,
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war 's
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- i also wanted a little alien as a friend !
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life affirming and heartbreaking , sweet without the decay factor , funny and sad
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who , in spite of all that he 's witnessed , remains surprisingly idealistic
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pure , exciting moviemaking
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twinkly-eyed
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to the experience
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, is still good fun .
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the tuxedo was n't just bad ; it was , as my friend david cross would call it , ` hungry-man portions of bad ' .
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strolls through this mess with a smug grin ,
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like an extended , open-ended poem than a traditionally structured story
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both shrill and soporific , and because everything is repeated five or six times
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kill the effect
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something hip and transgressive was being attempted here that stubbornly refused to gel
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is a likable story , told with competence .
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so many explosions
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franchise possibilities
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a manipulative feminist empowerment tale thinly posing as a serious drama about spousal abuse
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's no conversion effort
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subzero
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sustains
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arriving at a particularly dark moment in history , it offers flickering reminders of the ties that bind us .
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very amusing
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is not quite the career peak
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the chocolate factory without charlie .
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many ways the perfect festival film
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sounds like a cruel deception carried out by men of marginal intelligence , with reactionary ideas about women and a total lack of empathy .
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