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the pantheon of great monster/science fiction flicks
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energy and geniality to please not only the fanatical adherents on either side , but also people who know nothing about the subject and think they
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mamet 's `` house of games '' and last fall 's `` heist '' so much fun
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reno ) lets her radical flag fly , taking angry potshots at george w. bush , henry kissinger , larry king , et al .
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you laugh once ( maybe twice )
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`` abandon ''
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nelson 's intentions are good , but the end result does no justice to the story itself .
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a surprisingly anemic disappointment
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ignorant
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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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it makes me feel weird / thinking about all the bad things in the world / like puppies with broken legs / and butterflies that die / and movies starring pop queens
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... a rich and intelligent film that uses its pulpy core conceit to probe questions of attraction and interdependence and how the heart accomodates practical needs .
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go from stark desert to gorgeous beaches .
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to give blade fans another look at wesley snipes ' iconic hero doing battle with dozens of bad guys -- at once
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allows his cast members to make creative contributions to the story and dialogue .
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perhaps it 's cliche to call the film ` refreshing , '
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is a pleasant enough dish
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into the script , which has a handful of smart jokes
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its visual panache
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powerful and telling story
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a saga of the ups and downs of friendships
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odd and
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at once overly old-fashioned in its sudsy plotting and heavy-handed in its effort to modernize it with encomia to diversity and tolerance .
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it also makes her appear foolish and shallow rather than , as was more likely ,
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horrible
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denial of sincere grief and mourning in favor of bogus spiritualism
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the perfect material
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horrors !
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could have easily become a cold , calculated exercise in postmodern pastiche winds up a powerful and deeply moving example of melodramatic moviemaking .
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is impressive .
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find a spark of its own
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will probably be a talky bore .
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for its originality
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mind crappy movies as much
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if festival in cannes nails hard - boiled hollywood argot with a bracingly nasty accuracy
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a beautiful paean to a time long past .
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is in his hypermasculine element here , once again able to inject some real vitality and even art into a pulpy concept that , in many other hands would be completely forgettable
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that skins comes as a welcome , if downbeat , missive from a forgotten front
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an old-fashioned scary movie , one that relies on lingering terror punctuated by sudden shocks and not constant bloodshed punctuated by flying guts .
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watch witherspoon 's talents wasting away inside unnecessary films like legally blonde and sweet home abomination
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that it avoids the obvious with humor and lightness
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patchy combination of soap opera , low-tech magic realism and , at times , ploddingly sociological commentary
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is way , way off
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is a feast for the eyes .
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soderbergh 's best films
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its excellent storytelling ,
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it offers much to absorb and even more to think about after the final frame .
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, heartfelt , mesmerizing king lear
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weighs down the tale with bogus profundities
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the story has its redundancies
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is playful but highly studied and dependent for its success on a patient viewer
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about the need to stay in touch with your own skin , at 18 or 80
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most repellent things
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palpable
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cinderella
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of sly humor
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simple title
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i 'm sure the filmmakers found this a remarkable and novel concept , but anybody who has ever seen an independent film can report that it is instead a cheap cliché .
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is all but washed away by sumptuous ocean visuals and the cinematic stylings of director john stockwell
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flaws
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is an uneven film for the most part
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undone by anachronistic quick edits and occasional jarring glimpses of a modern theater audience watching the events unfold
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succeeded only in making me groggy .
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carefully choreographed
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the acting is fine but the script is about as interesting as a recording of conversations at the wal-mart checkout line
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the film rehashes several old themes and is capped with pointless extremes -- it 's insanely violent and very graphic .
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unpleasant excuse
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like the work of an artist who is simply tired -- of fighting the same fights , of putting the weight of the world on his shoulders , of playing with narrative form .
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of a vastly improved germanic version of my big fat greek wedding
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even if the picture itself is somewhat problematic
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inventive , consistently intelligent and sickeningly savage
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mysterious , sensual , emotionally intense , and
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awfully hard to buy the impetus for the complicated love triangle that develops between the three central characters
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hackneyed
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strangely moved by even the corniest and most hackneyed contrivances
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tavernier 's film bounds along with the rat-a-tat energy of `` his girl friday , '' maintaining a light touch while tackling serious themes .
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tragic deaths
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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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there 's no point of view , no contemporary interpretation of joan 's prefeminist plight , so
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stitched together from stock situations and characters
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they will have a showdown , but , by then , your senses are as mushy as peas
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outstanding thrillers
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it 's an ambitious film , and
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finding their way to joy
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give performances of exceptional honesty
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bill plympton , the animation master ,
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, comedy and romance
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should be relegated to a dark video store corner
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wore out its welcome with audiences several years ago
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a valentine sealed with a kiss
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, mesmerizing
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, mr. murray , a prolific director of music videos , stuffs his debut with more plot than it can comfortably hold .
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very strong
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visually bland
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the script boasts some tart tv-insider humor ,
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such high-wattage brainpower coupled with pitch-perfect acting and
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lots of hollywood fluff
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honestly nice
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beneath it
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the script was reportedly rewritten a dozen times
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