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a subtle , poignant picture of goodness that is flawed , compromised and sad .
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[ the digital effects ] reminded me of terry gilliam 's rudimentary old monty python cartoons , in which he would cut out figures from drawings and photographs and paste them together .
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macdowell . . . gives give a solid , anguished performance that eclipses nearly everything else she 's ever done .
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mark me down as a non-believer in werewolf films that are not serious and rely on stupidity as a substitute for humor .
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the hackneyed story about an affluent damsel in distress who decides to fight her bully of a husband is simply too overdone .
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i kept wishing i was watching a documentary about the wartime navajos and what they accomplished instead of all this specious hollywood hoo-ha .
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it 's exactly what you 'd expect .
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storytelling feels slight .
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the woodman seems to have directly influenced this girl-meets-girl love story , but even more reassuring is how its makers actually seem to understand what made allen 's romantic comedies so pertinent and enduring .
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the adventure does n't contain half the excitement of balto , or quarter the fun of toy story 2 .
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the experience of watching blobby old-school cgi animation in this superlarge format is just surreal enough to be diverting .
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bluto blutarsky , we miss you .
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there has been much puzzlement among critics about what the election symbolizes . i believe the message is in the messenger : the agent is a woman .
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deliberately and skillfully uses ambiguity to suggest possibilities which imbue the theme with added depth and resonance .
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a marvelous performance by allison lohman as an identity-seeking foster child .
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an awfully good , achingly human picture .
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hard-core slasher aficionados will find things to like . . . but overall the halloween series has lost its edge .
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a backstage must-see for true fans of comedy .
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spinning a web of dazzling entertainment may be overstating it , but `` spider-man `` certainly delivers the goods .
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we may never think of band camp as a geeky or nerdy thing again .
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visually fascinating . . . an often intense character study about fathers and sons , loyalty and duty .
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not all of the stories work and the ones that do are thin and scattered , but the film works well enough to make it worth watching .
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this is a third-person story now , told by hollywood , and much more ordinary for it .
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an unremarkable , modern action/comedy buddy movie whose only nod to nostalgia is in the title .
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twohy 's a good yarn-spinner , and ultimately the story compels .
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what we have here is n't a disaster , exactly , but a very handsomely produced let-down .
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there 's too much falseness to the second half , and what began as an intriguing look at youth fizzles into a dull , ridiculous attempt at heart-tugging .
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[ t ] oo many of these gross out scenes . . .
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if the idea of the white man arriving on foreign shores to show wary natives the true light is abhorrent to you , the simplistic heaven will quite likely be more like hell .
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jeffrey tambor 's performance as the intelligent jazz-playing exterminator is oscar-worthy .
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a sluggish pace and lack of genuine narrative hem the movie in every bit as much as life hems in the spirits of these young women .
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both awful and appealing .
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director roger michell does so many of the little things right that it 's difficult not to cuss him out severely for bungling the big stuff .
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it 's crafty , energetic and smart -- the kid is sort of like a fourteen-year old ferris bueller .
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the longer the movie goes , the worse it gets , but it 's actually pretty good in the first few minutes .
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the lively appeal of the last kiss lies in the ease with which it integrates thoughtfulness and pasta-fagioli comedy .
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a rip-off twice removed , modeled after [ seagal 's ] earlier copycat under siege , sometimes referred to as die hard on a boat .
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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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time of favor could have given audiences the time of day by concentrating on the elements of a revealing alienation among a culture of people who sadly are at hostile odds with one another through recklessness and retaliation .
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although commentary on nachtwey is provided . . . it 's the image that really tells the tale .
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once the expectation of laughter has been quashed by whatever obscenity is at hand , even the funniest idea is n't funny .
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there 's no denying the elaborateness of the artist 's conceptions , nor his ability to depict them with outrageous elan , but really the whole series is so much pretentious nonsense , lavishly praised by those who equate obscurity with profundity .
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it looks good , but it is essentially empty .
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this is one of those rare docs that paints a grand picture of an era and makes the journey feel like a party .
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no one goes unindicted here , which is probably for the best . and if you 're not nearly moved to tears by a couple of scenes , you 've got ice water in your veins .
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despite bearing the paramount imprint , it 's a bargain-basement european pickup . what 's hard to understand is why anybody picked it up . wiser souls would have tactfully pretended not to see it and left it lying there
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a limp eddie murphy vehicle that even he seems embarrassed to be part of .
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i admired this work a lot .
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a gripping movie , played with performances that are all understated and touching .
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an hour and a half of joyful solo performance .
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open-minded kids -- kids who read , kids who dream -- will be comforted by the way it deals with big issues like death and destiny .
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starts as a tart little lemon drop of a movie and ends up as a bitter pill .
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unfortunately , one hour photo lives down to its title . thanks largely to williams , all the interesting developments are processed in 60 minutes -- the rest is just an overexposed waste of film .
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even with all its botches , enigma offers all the pleasure of a handsome and well-made entertainment .
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a fine effort , an interesting topic , some intriguing characters and a sad ending . certainly the big finish was n't something galinsky and hawley could have planned for . . . but part of being a good documentarian is being there when the rope snaps .
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director brian levant , who never strays far from his sitcom roots , skates blithely from one implausible situation to another , pausing only to tie up loose ends with more bows than you 'll find on a french poodle .
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if you come from a family that eats , meddles , argues , laughs , kibbitzes and fights together , then go see this delightful comedy .
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not good enough to pass for a litmus test of the generation gap and not bad enough to repulse any generation of its fans .
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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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mostly , shafer and co-writer gregory hinton lack a strong-minded viewpoint , or a sense of humor .
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the so-inept- it's-surreal dubbing ( featuring the voices of glenn close , regis philbin and breckin meyer ) brings back memories of cheesy old godzilla flicks .
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the film starts promisingly , but the ending is all too predictable and far too cliched to really work .
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watching e . t now , in an era dominated by cold , loud special-effects-laden extravaganzas , one is struck less by its lavish grandeur than by its intimacy and precision .
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for the most part , the ingredients are there . but an unwillingness to explore beyond the surfaces of her characters prevents nettelbeck 's film from coming together .
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it sticks rigidly to the paradigm , rarely permitting its characters more than two obvious dimensions and repeatedly placing them in contrived , well-worn situations .
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the structure the film takes may find matt damon and ben affleck once again looking for residuals as this officially completes a good will hunting trilogy that was never planned .
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yeah , these flicks are just that damn good . is n't it great ?
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douglas mcgrath 's nicholas nickleby does dickens as it should be done cinematically .
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made for teens and reviewed as such , this is recommended only for those under 20 years of age . . . and then only as a very mild rental .
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a glorious mess .
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swims in mediocrity , sticking its head up for a breath of fresh air now and then .
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an honest , sensitive story from a vietnamese point of view .
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[ soderbergh ] tends to place most of the psychological and philosophical material in italics rather than trust an audience 's intelligence , and he creates an overall sense of brusqueness .
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if the movie succeeds in instilling a wary sense of 'there but for the grace of god , ' it is far too self-conscious to draw you deeply into its world .
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ear-splitting exercise in formula crash-and-bash action .
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poignant japanese epic about adolescent anomie and heartbreak .
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no amount of good intentions is able to overcome the triviality of the story .
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you emerge dazed , confused as to whether you 've seen pornography or documentary .
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i ca n't begin to tell you how tedious , how resolutely unamusing , how thoroughly unrewarding all of this is , and what a reckless squandering of four fine acting talents . . .
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where tom green stages his gags as assaults on america 's knee-jerk moral sanctimony , jackass lacks aspirations of social upheaval .
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has its moments , but it 's pretty far from a treasure .
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moretti 's compelling anatomy of grief and the difficult process of adapting to loss .
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though there 's a clarity of purpose and even-handedness to the film 's direction , the drama feels rigged and sluggish .
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a delightful entree in the tradition of food movies .
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not a bad journey at all .
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with so many bad romances out there , this is the kind of movie that deserves a chance to shine .
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tries to work in the same vein as the brilliance of animal house but instead comes closer to the failure of the third revenge of the nerds sequel .
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if it seems like a minor miracle that its septuagenarian star is young enough to be the nonagenarian filmmaker 's son , more incredible still are the clear-eyed boldness and quiet irony with which actor and director take on life 's urgent questions .
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in a summer overrun with movies dominated by cgi aliens and super heroes , it revigorates the mind to see a feature that concentrates on people , a project in which the script and characters hold sway .
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forget the misleading title , what 's with the unexplained baboon cameo ?
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a simple , but gritty and well-acted ensemble drama that encompasses a potent metaphor for a country still dealing with its fascist past .
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the performances are amiable and committed , and the comedy more often than not hits the bullseye .
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i liked about schmidt a lot , but i have a feeling that i would have liked it much more if harry & tonto never existed .
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the somber pacing and lack of dramatic fireworks make green dragon seem more like medicine than entertainment .
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nicely serves as an examination of a society in transition .
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. . . creates a visceral sense of its characters ' lives and conflicted emotions that carries it far above . . . what could have been a melodramatic , lifetime channel-style anthology .
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when a set of pre-shooting guidelines a director came up with for his actors turns out to be cleverer , better written and of considerable more interest than the finished film , that 's a bad sign . a very bad sign .
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flavorful and romantic , you could call this how martha got her groove back -- assuming , that is , she ever had one to begin with .
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very solid , very watchable first feature for director peter sheridan
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. . . a rather bland affair .
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