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attract upscale audiences hungry for quality and a nostalgic , twisty yarn that will keep them guessing
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-- bowel movements than this long-on-the-shelf , point-and-shoot exercise in gimmicky crime drama
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charly comes off as emotionally manipulative and sadly imitative of innumerable past love story derisions .
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it 's a well-written and occasionally challenging social drama that actually has something interesting to say
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a class with spike lee 's masterful
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do n't even bother to rent this on video
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extraordinarily
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also heartwarming without stooping to gooeyness
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tumbleweeds
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such a mechanical endeavor (
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is that it 's not as obnoxious as tom green 's freddie got fingered
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the film runs on a little longer than it needs to -- muccino either does n't notice when his story ends or just ca n't tear himself away from the characters --
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a satisfying summer blockbuster and
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good chance
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exhaustion , from watching a movie that is dark ( dark green , to be exact ) , sour , bloody and mean
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, funny , and even touching
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with a series of riveting set pieces
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this is the sort of low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes .
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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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a strong first act and absolutely , inescapably gorgeous , skyscraper-trapeze motion of the amazing spider-man
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a gushy episode of `` m * a * s * h '' only this time from an asian perspective .
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through contrived plot points
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amusing enough while you watch it , offering fine acting moments and pungent insights into modern l.a. 's show-biz and media
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much 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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that he tosses a kitchen sink onto a story already overladen with plot conceits
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more likely to drown a viewer in boredom than to send any shivers down his spine
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, it could have been a thinking man 's monster movie
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it 's rare that a movie can be as intelligent as this one is in every regard except its storyline ; everything that 's good is ultimately scuttled by a plot that 's just too boring and obvious
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a fairly revealing study of its two main characters -- damaged-goods people whose orbits will inevitably
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to slovenly life in this self-deprecating , biting and witty feature written by charlie kaufman and his twin brother , donald , and directed by spike jonze
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a great american adventure and a wonderful film to bring to imax
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light-heartedness , that makes it attractive throughout
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pokemon 4ever practically assures that the pocket monster movie franchise is nearly ready to keel over
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leaden
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( the kid 's ) just too bratty for sympathy
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would that greengrass had gone a tad less for grit and a lot more for intelligibility
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lee 's achievement
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by the time the plot grinds itself out in increasingly incoherent fashion , you might be wishing for a watch that makes time go faster rather than the other way around .
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can i admit xxx is as deep as a petri dish and as well-characterized as a telephone book but still say it was a guilty pleasure ?
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good spirits
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is whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau
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at just over an hour , home movie will leave you wanting more , not to mention leaving you with some laughs and a smile on your face .
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will thrill you , touch you and make you
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ingenue
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not to mention mysterious , sensual , emotionally intense , and replete with virtuoso throat-singing
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a rare treat
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aggressively silly
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it 's not too fast and not too slow .
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tries-so-hard-to-be-cool `` clockstoppers
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land beyond time is an enjoyable big movie primarily because australia is a weirdly beautiful place
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director shekhar kapur and screenwriters michael schiffer and hossein amini have tried hard to modernize and reconceptualize things ,
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the plan to make enough into ` an inspiring tale of survival wrapped in the heart-pounding suspense of a stylish psychological thriller ' has flopped as surely as a soufflé gone wrong .
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neglecting character development
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know if it wants to be a retro-refitting exercise in campy recall for older fans or a silly , nickelodeon-esque kiddie flick
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a cellophane-pop remake of the punk classic ladies and gentlemen , the fabulous stains ... crossroads is never much worse than bland or better than inconsequential .
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has some cute moments , funny scenes , and hits the target audience ( young bow wow fans ) -
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rediscovers his passion in life
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of barely defensible sexual violence to keep it interested
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, robert rodriguez adorns his family-film plot with an elegance and maturity that even most contemporary adult movies are lacking .
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most refreshing
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touching , raucously amusing , uncomfortable , and , yes , even sexy
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proves that director m. night shyamalan can weave an eerie spell and that mel gibson can gasp , shudder and even tremble without losing his machismo .
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worthy successor
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very expressive
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gaunt
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a trend
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horrid little propaganda film
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a sobering and powerful documentary
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have poignancy jostling against farce , thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except , maybe , that it looks neat .
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be funny in a way that 's too loud , too goofy and too short of an attention span
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true to its title , it traps audiences in a series of relentlessly nasty situations that we would pay a considerable ransom not to be looking at .
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tired retread
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the middle and lurches between not-very-funny comedy , unconvincing dramatics and some last-minute action strongly reminiscent of run lola run
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first-time director joão pedro rodrigues ' unwillingness to define his hero 's background or motivations
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features terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and a rather dull , unimaginative car chase
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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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are intriguing and realistic
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rock solid family fun out
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is n't that stealing harvard is a horrible movie -- if only it were that grand a failure
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of breathtaking mystery
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malcolm mcdowell is cool .
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charmer
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the peculiarly moral amorality of ( woo 's ) best work
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stale first act , scrooge story , blatant product placement , some very good comedic songs , strong finish
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because there 's no rooting interest
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no foundation
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does n't do more than expand a tv show to movie length
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a smart and funny , albeit sometimes superficial , cautionary tale of a technology in search of an artist
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is the best description of this well-meaning , beautifully produced film that sacrifices its promise for a high-powered star pedigree
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the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby
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it would be churlish to begrudge anyone for receiving whatever consolation that can be found in dragonfly , yet it is impossible to find the film anything but appalling , shamelessly manipulative and contrived , and totally lacking in conviction
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clever makeup design
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deaths
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a lame romantic comedy about an unsympathetic character and someone who would not likely be so stupid as to get
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becomes increasingly implausible as it races
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a chilling tale of one of the great crimes of 20th century france :
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, it contains almost enough chuckles for a three-minute sketch , and no more .
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a cast that seems 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 whole affair , true story or not , feels incredibly hokey ... ( it ) comes off like a hallmark commercial .
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a fresh-faced , big-hearted and frequently funny thrill
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