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hatfield and hicks make the oddest of couples , and in this sense the movie becomes a study of the gambles of the publishing world , offering a case study that exists apart from all the movie 's political ramifications .
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written , flatly , by david kendall and
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a raise
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director george hickenlooper has had some success with documentaries
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a special kind of movie
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, standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill
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the movie sinks into an abyss of clichés , depression and bad alternative music .
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funny film
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kudos to the most enchanting film of the year
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should be commended for illustrating the merits of fighting hard for something that really matters
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plodding , peevish and gimmicky
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there might be some sort of credible gender-provoking philosophy submerged here , but who the hell cares ?
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its audience -- in a heartwarming , nonjudgmental kind of way -- to consider what we value in our daily lives
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but something far more stylish and cerebral -- and
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be over
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grab your kids and run and then probably call the police
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feel the screenwriter at every moment ` tap , tap , tap , tap , tapping away ' on this screenplay
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about nothing
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that loses sight of its own story
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, is that it has none of the pushiness and decibel volume of most contemporary comedies .
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genuine
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` dumb
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's still unusually crafty and intelligent for hollywood horror .
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marvelously entertaining and
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the lady and the duke surprisingly manages never to grow boring ... which proves that rohmer still has a sense of his audience .
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a stylistic
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the quaking essence of passion , grief and fear
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a more credible script ,
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into a lyrical and celebratory vision
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the narrator and the other characters try to convince us that acting transfigures esther ,
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even through its flaws , revolution # 9 proves to be a compelling
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, also like its hero , it remains brightly optimistic , coming through in the end
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you 'll be wistful for the testosterone-charged wizardry of jerry bruckheimer productions , especially because half past dead is like the rock on a wal-mart budget .
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absurdities
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road movie , coming-of-age story and
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more valuable
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the best kind of documentary , one that makes a depleted yesterday feel very much like a brand-new tomorrow
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there is little question that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out .
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convincing
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seem to have been picked not for their acting chops , but for their looks and appeal to the pre-teen crowd .
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an aging filmmaker still thumbing his nose at convention
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its predictability
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finds the ideal outlet for his flick-knife diction in the role of roger swanson .
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entertaining , if somewhat standardized ,
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generates little narrative momentum ,
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like life on the island
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are stanzas of breathtaking , awe-inspiring visual poetry
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peter jackson and company once again dazzle and delight us , fulfilling practically every expectation either a longtime tolkien fan or a movie-going neophyte could want .
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distasteful
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a sun-drenched masterpiece , part parlor game , part psychological case study , part droll social satire .
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the plot has a number of holes , and
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visually , ` santa clause 2 ' is wondrously creative .
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good humor
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is icily brilliant .
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( reaches ) wholly believable and heart-wrenching depths of despair .
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was so endlessly , grotesquely ,
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that peace is possible
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to keel over
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lead a group of talented friends
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this misty-eyed southern nostalgia piece
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is an autopilot hollywood concoction lacking in imagination and authentic christmas spirit
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that even its target audience talked all the way through it
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spielberg 's realization of a near-future america is masterful .
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cheap-shot
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it 's the perfect cure for insomnia .
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surprisingly decent
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than on petter næss ' delicate , clever direction ... and a wonderful , imaginative script
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great fun both for sports aficionados and for ordinary louts whose idea of exercise is climbing the steps of a stadium-seat megaplex .
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leave you feeling a little sticky and unsatisfied
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( gulpilil ) is a commanding screen presence ,
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better drama
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is that van wilder does little that is actually funny with the material
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achingly honest
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it 's encouraging to see a three-dimensional , average , middle-aged woman 's experience of self-discovery handled with such sensitivity
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of the most exciting action films
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richly detailed , deftly executed and
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transcends the boy-meets-girl posturing of typical love stories .
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rewards
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sensitive story
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creepy
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dazzling , remarkably unpretentious
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as endearing and easy
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gondry 's direction is adequate ... but what gives human nature its unique feel is kaufman 's script
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its compassionate spirit
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it 's about issues most adults have to face in marriage and i think that 's what i liked about it -- the real issues tucked between the silly and crude storyline .
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provides the kind of ` laugh therapy ' i need from movie comedies -- offbeat humor , amusing characters , and a happy ending .
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very ugly ,
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blustery movie
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is the case of a pregnant premise being wasted by a script that takes few chances and manages to insult the intelligence of everyone in the audience
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it wears its heart on the sleeve of its gaudy hawaiian shirt .
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loses its sense of humor in a vat of failed jokes , twitchy acting , and general boorishness
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like ` praise the lord , he 's the god of second chances '
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it is a kind , unapologetic , sweetheart of a movie , and
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's ) quite a bit of heart , as you would expect from the directors of the little mermaid and aladdin .
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before it builds up to its insanely staged ballroom scene , in which 3000 actors appear in full regalia
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its laziest
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find yourself wishing that you and they were in another movie
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joshua is as blasphemous and nonsensical as a luis buñuel film without the latter 's attendant intelligence , poetry , passion , and genius .
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should be served an eviction notice at every theater stuck with it .
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as well as a masterfully made one
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