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jeffrey tambor 's
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olivier assayas has fashioned an absorbing look at provincial bourgeois french society .
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blue hilarity
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acting , poorly dubbed dialogue and murky cinematography
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find morrison 's iconoclastic uses of technology to be liberating
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where the situations and the dialogue spin hopelessly out of control -- that is to say
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delusional
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is just too easy to be genuinely satisfying .
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by its art and heart
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at least it 's a fairly impressive debut from the director , charles stone iii .
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she 's not funny
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winning actor
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from the choppy editing to the annoying score to ` special effects ' by way of replacing objects in a character 's hands below the camera line
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it 's as if de palma spent an hour setting a fancy table and then served up kraft macaroni and cheese .
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nothing like love to give a movie a b-12 shot
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that it counts heart as important as humor
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, inconsistent , dishonest
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with the precision of the insurance actuary
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, non-exploitive approach
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of businesses
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really bad blair witch project
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for industrial-model meat freezers
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the inherent absurdity of ganesh 's rise
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shot like a postcard and overacted with all the boozy self-indulgence that brings out the worst in otherwise talented actors
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* corpus and its amiable jerking
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allowing us to find the small , human moments , and
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trivializing it
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loses
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any attempts at nuance given by the capable cast
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decides whether it wants to be a black comedy , drama , melodrama or some combination of the three .
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with its paint fights , motorized scooter chases and dewy-eyed sentiment , it 's a pretty listless collection of kid-movie clichés .
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is n't nearly as downbeat as it sounds , but strikes a tone that 's alternately melancholic , hopeful and strangely funny
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the reason to go see `` blue crush '' is the phenomenal , water-born cinematography by david hennings .
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zigzag might have been richer and more observant if it were less densely plotted .
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an exclamation point
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have been lost in the translation
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fiend
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shockingly manages to be even worse than its title
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the thrill of the company 's astonishing growth
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standoffish to everyone else
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a sour taste in one 's mouth
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impostor is a step down for director gary fleder .
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less concerned with cultural and political issues than doting on its eccentric characters
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comedy that takes an astonishingly condescending attitude toward women
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dull , unimaginative
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by an intelligent screenplay and gripping performances
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allows the mind to enter and accept another world
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and wai ka fai are ) sure to find an enthusiastic audience among american action-adventure buffs , but the film 's interests
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has directed not only one of the best gay love stories ever made
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tight and truthful
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portrays young brendan with his usual intelligence and subtlety , not to mention a convincing brogue
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to remember
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's a tribute to the actress , and to her inventive director ,
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our respect
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miracles
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are in place for a great film noir
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stuck in heaven because he 's afraid of his best-known creation ?
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try to create characters out of the obvious cliches , but
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based on dave barry 's popular book of the same name , the movie benefits from having a real writer plot out all of the characters ' moves and overlapping story .
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-- worst of all --
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before pulling the plug on the conspirators and averting an american-russian armageddon
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provides an accessible introduction as well as some intelligent observations on the success of bollywood in the western world
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match the ordeal of sitting through it
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overwrought comedy/drama
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inherently caustic and oddly whimsical , the film chimes in on the grieving process and strangely draws the audience into the unexplainable pain and eccentricities that are attached to the concept of loss .
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... its three-hour running time plays closer to two .
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its plot contrivances
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it 's an odd show , pregnant with moods , stillborn except as a harsh conceptual exercise .
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cheesy backdrops , ridiculous action sequences , and many tired jokes about men in heels
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to which the girls-behaving-badly film has fallen
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more focused
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new kind
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infuses the movie with much of its slender
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emotionally satisfying exploration
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surehanded direction
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who die hideously
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ridicule factor
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that this film 's cast is uniformly superb
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even if you 've never heard of chaplin , you 'll still be glued to the screen .
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woefully
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it has become apparent that the franchise 's best years are long past .
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curious
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the edge
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would not improve much after a therapeutic zap of shock treatment
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, pretentious mess .
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depressingly
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lovefest
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succeed in really rattling the viewer
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certainly an entertaining ride , despite many talky , slow scenes .
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addition to sporting one of the worst titles in recent cinematic history
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an interesting psychological game
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irredeemably awful
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a bit cold and relatively flavorless
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an eye on preserving a sense of mystery
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dumb ,
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lacks the spirit of the previous two , and makes all those jokes about hos and even more unmentionable subjects seem like mere splashing around in the muck .
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pat storylines , precious circumstances
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rock-solid little genre picture
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( cool visual backmasking )
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's something else altogether -- clownish and offensive and nothing at all like real life
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