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as we have come to learn -- as many times as we have fingers to count on -- jason is a killer who doesn't know the meaning of the word 'quit . ' the filmmakers might want to look it up .
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a frustrating 'tweener' -- too slick , contrived and exploitative for the art houses and too cynical , small and decadent for the malls .
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what's surprising about this traditional thriller , moderately successful but not completely satisfying , is exactly how genteel and unsurprising the execution turns out to be .
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drowning's too good for this sucker .
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an instantly forgettable snow-and-stuntwork extravaganza that likely will be upstaged by an avalanche of more appealing holiday-season product .
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frankly , it's pretty stupid . i had more fun with ben stiller's zoolander , which i thought was rather clever . but there's plenty to offend everyone . . .
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love liza is a festival film that would have been better off staying on the festival circuit .
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there are things to like about murder by numbers -- but , in the end , the disparate elements don't gel .
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. . . tackling a low-budget movie in which inexperienced children play the two main characters might not be the best way to cut your teeth in the film industry .
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quite frankly , i can't see why any actor of talent would ever work in a mcculloch production again if they looked at how this movie turned out .
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my precious new star wars movie is a lumbering , wheezy drag . . .
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the innocence of holiday cheer ain't what it used to be .
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too campy to work as straight drama and too violent and sordid to function as comedy , vulgar is , truly and thankfully , a one-of-a-kind work .
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horrid little propaganda film with fascinating connections not only to the serbs themselves but also to a network of american right-wing extremists .
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should have gone straight to video . it looks like an action movie , but it's so poorly made , on all levels , that it doesn't even qualify as a spoof of such .
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it is supremely unfunny and unentertaining to watch middle-age and older men drink to excess , piss on trees , b . s . one another and put on a show in drag .
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consider the film a celluloid litmus test for the intellectual and emotional pedigree of your date and a giant step backward for a director i admire .
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a boring , pretentious muddle that uses a sensational , real-life 19th-century crime as a metaphor for -- well , i'm not exactly sure what -- and has all the dramatic weight of a raindrop .
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sheridan had a wonderful account to work from , but , curiously , he waters it down , turning grit and vulnerability into light reading .
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heavy with flabby rolls of typical toback machinations .
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it is very difficult to care about the character , and that is the central flaw of the film .
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snow dogs finds its humour in a black man getting humiliated by a pack of dogs who are smarter than him
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whole stretches of the film may be incomprehensible to moviegoers not already clad in basic black .
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reggio and glass so rhapsodize cynicism , with repetition and languorous slo-mo sequences , that glass's dirgelike score becomes a fang-baring lullaby .
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es triste tener que decirles que lo único grato de la cinta es el cuerpo desnudo de la heather . . .
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ends up offering nothing more than the latest schwarzenegger or stallone flick would .
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the film makes strong arguments regarding the social status of america's indigenous people , but really only exists to try to eke out an emotional tug of the heart , one which it fails to get .
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charlize chases kevin with a gun . courtney chases stuart with a cell phone . the sound of gunfire and cell phones ringing .
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if the tuxedo actually were a suit , it would fit chan like a $99 bargain-basement special .
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parents beware ; this is downright movie penance .
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. . . a complete shambles of a movie so sloppy , so uneven , so damn unpleasant that i can't believe any viewer , young or old , would have a good time here .
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has nothing good to speak about other than the fact that it is relatively short , tries its best to hide the fact that seagal's overweight and out of shape .
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a pathetically inane and unimaginative cross between xxx and vertical limit .
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impeccably filmed , sexually charged , but ultimately lacking in substance , not to mention dragged down by a leaden closing act .
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feels at times like a giant commercial for universal studios , where much of the action takes place .
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while the mystery unravels , the characters respond by hitting on each other .
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britney spears' phoniness is nothing compared to the movie's contrived , lame screenplay and listless direction .
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every sequel you skip will be two hours gained . consider this review life-affirming .
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if the movie were all comedy , it might work better . but it has an ambition to say something about its subjects , but not a willingness .
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the movie , while beautiful , feels labored , with a hint of the writing exercise about it .
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twenty-three movies into a mostly magnificent directorial career , clint eastwood's efficiently minimalist style finally has failed him . big time .
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this heist flick about young brooklyn hoods is off the shelf after two years to capitalize on the popularity of vin diesel , seth green and barry pepper . it should have stayed there .
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the film has a childlike quality about it . but the feelings evoked in the film are lukewarm and quick to pass .
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the most opaque , self-indulgent and just plain goofy an excuse for a movie as you can imagine .
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it's not a film to be taken literally on any level , but its focus always appears questionable .
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big fat liar is little more than home alone raised to a new , self-deprecating level .
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the movie is gorgeously made , but it is also somewhat shallow and art-conscious .
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the only time 8 crazy nights comes close to hitting a comedic or satirical target is during the offbeat musical numbers .
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loses its sense of humor in a vat of failed jokes , twitchy acting , and general boorishness .
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there's a delightfully quirky movie to be made from curling , but brooms isn't it .
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the story suffers a severe case of oversimplification , superficiality and silliness .
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chamber of secrets will find millions of eager fans . but if the essence of magic is its make-believe promise of life that soars above the material realm , this is the opposite of a truly magical movie .
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too clever by about nine-tenths .
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has all the hallmarks of a movie designed strictly for children's home video , a market so insatiable it absorbs all manner of lame entertainment , as long as 3-year-olds find it diverting .
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well-meant but unoriginal .
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bears about as much resemblance to the experiences of most battered women as spider-man does to the experiences of most teenagers .
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toward the end sum of all fears morphs into a mundane '70s disaster flick .
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director carl franklin , so crisp and economical in one false move , bogs down in genre cliches here .
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mendes still doesn't quite know how to fill a frame . like the hanks character , he's a slow study : the action is stilted and the tabloid energy embalmed .
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this thing is just garbage .
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as crimes go , writer-director michael kalesniko's how to kill your neighbor's dog is slight but unendurable .
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there must be an audience that enjoys the friday series , but i wouldn't be interested in knowing any of them personally .
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a bold ( and lovely ) experiment that will almost certainly bore most audiences into their own brightly colored dreams .
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an uplifting , largely bogus story .
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an empty exercise , a florid but ultimately vapid crime melodrama with lots of surface flash but little emotional resonance .
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if you are curious to see the darker side of what's going on with young tv actors ( dawson leery did what ? ! ? ) , or see some interesting storytelling devices , you might want to check it out , but there's nothing very attractive about this movie .
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my own minority report is that it stinks .
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trying to make head or tail of the story in the hip-hop indie snipes is enough to give you brain strain -- and the pay-off is negligible .
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the script is high on squaddie banter , low on shocks .
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. . . if you , like me , think an action film disguised as a war tribute is disgusting to begin with , then you're in for a painful ride .
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while solondz tries and tries hard , storytelling fails to provide much more insight than the inside column of a torn book jacket .
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with very little to add beyond the dark visions already relayed by superb recent predecessors like swimming with sharks and the player , this latest skewering . . . may put off insiders and outsiders alike .
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[davis] wants to cause his audience an epiphany , yet he refuses to give us real situations and characters .
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without a fresh infusion of creativity , 4ever is neither a promise nor a threat so much as wishful thinking .
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. . . unlike [scorsese's mean streets] , ash wednesday is essentially devoid of interesting characters or even a halfway intriguing plot .
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being unique doesn't necessarily equate to being good , no matter how admirably the filmmakers have gone for broke .
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a few hours after you've seen it , you forget you've been to the movies .
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odd and weird .
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waydowntown may not be an important movie , or even a good one , but it provides a nice change of mindless pace in collision with the hot oscar season currently underway .
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yes , i suppose it's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life -- but world traveler gave me no reason to care , so i didn't .
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shadyac , who belongs with the damned for perpetrating patch adams , trots out every ghost trick from the sixth sense to the mothman prophecies .
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the photographer's show-don't-tell stance is admirable , but it can make him a problematic documentary subject .
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it is not the first time that director sara sugarman stoops to having characters drop their pants for laughs and not the last time she fails to provoke them .
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i'd be hard pressed to think of a film more cloyingly sappy than evelyn this year .
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nothing more than an amiable but unfocused bagatelle that plays like a loosely-connected string of acting-workshop exercises .
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meanders between its powerful moments .
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what remains is a variant of the nincompoop benigni persona , here a more annoying , though less angry version of the irresponsible sandlerian manchild , undercut by the voice of the star of road trip .
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a backhanded ode to female camaraderie penned by a man who has little clue about either the nature of women or of friendship .
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pure of intention and passably diverting , his secret life is light , innocuous and unremarkable .
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. . . delivers few moments of inspiration amid the bland animation and simplistic story .
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take away the controversy , and it's not much more watchable than a mexican soap opera .
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it's got the brawn , but not the brains .
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mindless and boring martial arts and gunplay with too little excitement and zero compelling storyline .
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a lot of talent is wasted in this crass , low-wattage endeavor .
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to show these characters in the act and give them no feelings of remorse -- and to cut repeatedly to the flashback of the original rape -- is overkill to the highest degree .
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[t]oo many of these gross out scenes . . .
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about one in three gags in white's intermittently wise script hits its mark ; the rest are padding unashamedly appropriated from the teen-exploitation playbook .
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little is done to support the premise other than fling gags at it to see which ones shtick .
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reno does what he can in a thankless situation , the film ricochets from humor to violence and back again , and ryoko hirosue makes us wonder if she is always like that .
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if jews were catholics , this would be catechism
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