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gratify anyone who has ever suspected hollywood of being overrun by corrupt and hedonistic weasels
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, vapid and devoid
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that a feel-good movie can still show real heart
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quirky , charming and often hilarious
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astonishingly skillful and moving ... it could become a historically significant work as well as a masterfully made one .
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occasional slowness
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it 's still not a good movie
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it has a dashing and resourceful hero ; a lisping , reptilian villain ; big fights ; big hair ; lavish period scenery ; and a story just complicated enough to let you bask in your own cleverness as you figure it out .
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equally engrossing
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emerged as hilarious lunacy
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for the most part , the weight of water comes off as a two-way time-switching myopic mystery that stalls in its lackluster gear of emotional blandness .
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generally amusing from time
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recycled and dumbed-down version
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squareness that would make it the darling of many a kids-and-family-oriented cable channel
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kids-and-family-oriented
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an artful yet depressing film that makes a melodramatic mountain out of the molehill of a missing bike
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good trash
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a hilarious kenneth branagh
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touching and funny
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linking a halfwit plot 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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so bland and utterly forgettable that it might as well have been titled generic jennifer lopez romantic comedy .
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of a poetic
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lacks aspirations of social upheaval
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totally estranged from reality
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what makes how i killed my father compelling , besides its terrific performances , is fontaine 's willingness to wander into the dark areas of parent-child relationships without flinching .
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marvelously entertaining and deliriously joyous documentary .
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well-made evocation
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taking them to surprising highs , sorrowful lows and hidden impulsive niches ... gorgeous , passionate , and at times uncommonly moving
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( seems ) even more uselessly redundant and shamelessly money-grubbing than most third-rate horror sequels .
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this loose collection of largely improvised numbers
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because there is no foundation for it
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come off too amateurish and awkward
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by this tired retread
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sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours
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a lovely film ... elegant , witty and beneath a prim exterior unabashedly romantic ... hugely enjoyable in its own right though not really faithful to its source 's complexity
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will enjoy seeing how both evolve
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repetitively stretched out to feature length , awash in self-consciously flashy camera effects , droning house music and flat , flat dialogue
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decided lack of spontaneity in its execution and a dearth of real poignancy in its epiphanies
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impossibly contrived situations
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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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are just too many characters saying too many clever things and getting into too many pointless situations
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virtually absent
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while we no longer possess the lack-of-attention span that we did at seventeen , we had no trouble sitting for blade ii .
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are entitled to take a deep bow for fashioning an engrossing entertainment out of an almost sure-fire prescription for a critical and commercial disaster
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moments to keep it entertaining
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a hole in your head
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a smart , funny look
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he had a bad run in the market or a costly divorce , because there is no earthly reason other than money why this distinguished actor would stoop so low
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director chris wedge and screenwriters michael berg , michael j. wilson and peter ackerman create some episodes that rival vintage looney tunes for the most creative mayhem in a brief amount of time .
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gritty realism , crisp storytelling and radiant compassion that effortlessly draws you in
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this is popcorn movie fun with equal doses of action , cheese , ham and cheek ( as well as a serious debt to the road warrior ) , but
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with this silly little puddle of a movie
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... unlikable , uninteresting , unfunny , and completely , utterly inept .
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the increasingly diverse french director has 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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rock solid family fun
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to boring , self-important stories of how horrible we are to ourselves and each other
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perfect example
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tawdry b-movie scum
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a powerful and deeply moving example
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a thoroughly modern maiden
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across as lame and sophomoric
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and as bland
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rather bland
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a powerful and telling story that examines forbidden love , racial tension , and other issues that are as valid today as they were in the 1950s
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peralta captures , in luminous interviews and amazingly evocative film from three decades ago , the essence of the dogtown experience .
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( caine ) proves once again he has n't lost his touch , bringing off a superb performance in an admittedly middling film .
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the film acquires an undeniable entertainment value as the slight , pale mr. broomfield continues to force himself on people and into situations that would make lesser men run for cover .
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what should have been a painless time-killer becomes instead a grating endurance test .
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samira makhmalbaf as a very distinctive sensibility , working to develop her own film language with conspicuous success
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some success
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a treatise on spirituality as well as
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low-grade dreck that usually goes straight to video -- with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography
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feels aimless for much of its running time , until late in the film when a tidal wave of plot arrives , leaving questions in its wake .
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too many prefabricated story elements
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harrowing account
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has a dashing and resourceful hero ; a lisping , reptilian villain ; big fights ; big hair ; lavish period scenery ; and a story
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no-surprise
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, why bother with a contemptible imitator starring a `` snl '' has-been acting like an 8-year-old channeling roberto benigni ?
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shamelessly manipulative and contrived
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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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half-hearted fluke
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can report that it is instead a cheap cliché
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a loose collection of not-so-funny gags , scattered moments of lazy humor
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's ... worth the extra effort to see an artist , still committed to growth in his ninth decade , change while remaining true to his principles
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a sobering and powerful documentary about the most severe kind of personal loss :
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the film succeeds as an emotionally accessible , almost mystical work
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directed by kevin bray , whose crisp framing , edgy camera work , and wholesale ineptitude with acting , tone and pace very obviously mark him as a video helmer making his feature debut .
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a surprisingly charming and even witty match for the best of hollywood 's comic-book
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the film is enriched by an imaginatively mixed cast of antic spirits , headed by christopher plummer as the subtlest and most complexly evil uncle ralph i 've ever seen in the many film and stage adaptations of the work .
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a woman whose passion for this region and its inhabitants still shines in her quiet blue eyes
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assembles a fascinating profile of a deeply humanistic artist who , in spite of all that he 's witnessed , remains surprisingly idealistic , and
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banality
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as emotionally grand
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rejected must have been astronomically bad
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this version is raised a few notches above kiddie fantasy pablum by allen 's astringent wit .
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fails as a dystopian movie , as a retooling of fahrenheit 451 , and even as a rip-off of the matrix
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giving audiences no reason to truly care for its decrepit freaks beyond the promise of a reprieve from their incessant whining
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it is almost guaranteed that even the stuffiest cinema goers will laugh their *** off for an hour-and-a-half
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among three strands which allow us to view events as if through a prism
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any thinking person is bound to appreciate
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