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it 's young guns meets goodfellas in this easily skippable hayseeds-vs . -greaseballs mob action-comedy .
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suffocated at conception by its munchausen-by-proxy mum . punish the vehicle to adore the star .
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the movie 's gloomy atmosphere is fascinating , though , even if the movie itself does n't stand a ghost of a chance .
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christina ricci comedy about sympathy , hypocrisy and love is a misfire .
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as dumb and cheesy as they may be , the cartoons look almost shakespearean -- both in depth and breadth -- after watching this digital-effects-heavy , supposed family-friendly comedy .
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. . . pray does n't have a passion for the material . he nonetheless appreciates the art and reveals a music scene that transcends culture and race .
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here is a vh1 behind the music special that has something a little more special behind it : music that did n't sell many records but helped change a nation .
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the problem with movies about angels is they have a tendency to slip into hokum . a rumor of angels does n't just slip -- it avalanches into forced fuzziness .
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the setting is so cool that it chills the characters , reducing our emotional stake in the outcome of `` intacto 's `` dangerous and seductively stylish game .
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rather less than the sum of its underventilated pM-hre-fils confrontations .
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huppert gives erika a persona that is so intriguing that you find yourself staring hypnotically at her , trying to understand her and wondering if she 'll crack .
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an instance of an old dog not only learning but inventing a remarkable new trick .
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it 's neither as romantic nor as thrilling as it should be . but it offers plenty to ponder and chew on as its unusual relationship slowly unfolds .
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bullock does a good job here of working against her natural likability .
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lanie 's professional success means she must be a failure at life , because she 's driven by ambition and does n't know how to have fun .
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the notion of deleting emotion from people , even in an advanced prozac nation , is so insanely dysfunctional that the rampantly designed equilibrium becomes a concept doofus .
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where this was lazy but enjoyable , a formula comedy redeemed by its stars , that is even lazier and far less enjoyable .
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the criticism never rises above easy , cynical potshots at morally bankrupt characters . . .
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as satisfyingly odd and intriguing a tale as it was a century and a half ago . . . has a delightfully dour , deadpan tone and stylistic consistency .
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abysmally pathetic
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although the editing might have been tighter , hush ! sympathetically captures the often futile lifestyle of young people in modern japan .
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antwone fisher certainly does the trick of making us care about its protagonist and celebrate his victories but , with few exceptions , it rarely stoops to cheap manipulation or corny conventions to do it .
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based on a devilishly witty script by heather mcgowan and niels mueller , the film gets great laughs , but never at the expense of its characters
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a generic international version of a typical american horror film .
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the film 's heady yet far from impenetrable theory suggests that russians take comfort in their closed-off nationalist reality .
1
reyes ' directorial debut has good things to offer , but ultimately it 's undone by a sloppy script
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there 's no doubting that this is a highly ambitious and personal project for egoyan , but it 's also one that , next to his best work , feels clumsy and convoluted .
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a psychological thriller with a genuinely spooky premise and an above-average cast , actor bill paxton 's directing debut is a creepy slice of gothic rural americana .
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filled with low-brow humor , gratuitous violence and a disturbing disregard for life .
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the actors pull out all the stops in nearly every scene , but to diminishing effect . the characters never change .
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fuller would surely have called this gutsy and at times exhilarating movie a great yarn .
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as violent , profane and exploitative as the most offensive action flick you 've ever seen .
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. . . a funny yet dark and seedy clash of cultures and generations .
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the picture 's fascinating byways are littered with trenchant satirical jabs at the peculiar egocentricities of the acting breed .
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in addition to sporting one of the worst titles in recent cinematic history , ballistic : ecks vs . sever also features terrible , banal dialogue ; convenient , hole-ridden plotting ; superficial characters and a rather dull , unimaginative car chase .
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uneasy mishmash of styles and genres .
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will probably be one of those movies barely registering a blip on the radar screen of 2002 .
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sorvino makes the princess seem smug and cartoonish , and the film only really comes alive when poor hermocrates and leontine pathetically compare notes about their budding amours .
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it bites hard .
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as an entertainment , the movie keeps you diverted and best of all , it lightens your wallet without leaving a sting .
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this is n't a movie ; it 's a symptom .
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lacking gravitas , macdowell is a placeholder for grief , and ergo this sloppy drama is an empty vessel . leave these flowers unpicked -- they 're dead on the vine .
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an uncluttered , resonant gem that relays its universal points without lectures or confrontations .
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. . . ambition is in short supply in the cinema , and egoyan tackles his themes and explores his characters ' crises with seriousness and compassion .
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shot in rich , shadowy black-and-white , devils chronicles , with increasingly amused irony , the relationship between reluctant captors and befuddled captives .
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it 's fitfully funny but never really takes off .
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chai 's structure and pacing are disconcertingly slack .
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'how many more voyages can this limping but dearly-loved franchise survive ? '
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`` mr . deeds `` is suitable summer entertainment that offers escapism without requiring a great deal of thought .
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involves two mysteries -- one it gives away and the other featuring such badly drawn characters that its outcome hardly matters .
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what it lacks in substance it makes up for in heart .
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j . lo will earn her share of the holiday box office pie , although this movie makes one thing perfectly clear : she 's a pretty woman , but she 's no working girl .
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woody allen has really found his groove these days . the problem is that it is one that allows him to churn out one mediocre movie after another .
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imagine o . henry 's < b > the gift of the magi < /b > relocated to the scuzzy underbelly of nyc 's drug scene . merry friggin ' christmas !
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high crimes miscasts nearly every leading character .
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a portrait of alienation so perfect , it will certainly succeed in alienating most viewers .
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. . . the tale of her passionate , tumultuous affair with musset unfolds as sand 's masculine persona , with its love of life and beauty , takes form .
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the impulses that produced this project . . . are commendable , but the results are uneven .
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city by the sea is the cinematic equivalent of defensive driving : it 's careful , conscientious and makes no major mistakes . but what saves lives on the freeway does not necessarily make for persuasive viewing .
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it 's hard to like a film about a guy who is utterly unlikeable , and shiner , starring michael caine as an aging british boxing promoter desperate for a taste of fame and fortune , is certainly that .
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while the material is slight , the movie is better than you might think .
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howard and his co-stars all give committed performances , but they 're often undone by howard 's self-conscious attempts to find a 'literary ' filmmaking style to match his subject .
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the audacity to view one of shakespeare 's better known tragedies as a dark comedy is , by itself , deserving of discussion .
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the script is too mainstream and the psychology too textbook to intrigue .
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so devoid of any kind of intelligible story that it makes films like xxx and collateral damage seem like thoughtful treatises
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a whole lot foul , freaky and funny .
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tuck everlasting achieves a delicate balance of romantic innocence and philosophical depth .
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dull , if not devoid of wit , this shaggy dog longs to frisk through the back alleys of history , but scarcely manages more than a modest , snoozy charm .
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watching junk like this induces a kind of abstract guilt , as if you were paying dues for good books unread , fine music never heard .
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longley has constructed a remarkably coherent , horrifically vivid snapshot of those turbulent days .
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any intellectual arguments being made about the nature of god are framed in a drama so clumsy , there is a real danger less sophisticated audiences will mistake it for an endorsement of the very things that bean abhors .
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it 's an old story , but a lively script , sharp acting and partially animated interludes make just a kiss seem minty fresh .
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this tenth feature is a big deal , indeed -- at least the third-best , and maybe even a notch above the previous runner-up , nicholas meyer 's star trek vi : the undiscovered country .
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the movie does n't add anything fresh to the myth .
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its use of the thriller form to examine the labyrinthine ways in which people 's lives cross and change , buffeted by events seemingly out of their control , is intriguing , provocative stuff .
1
blanchett 's performance confirms her power once again .
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one hour photo is an intriguing snapshot of one man and his delusions ; it 's just too bad it does n't have more flashes of insight .
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a first-class road movie that proves you can run away from home , but your ego and all your problems go with you .
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for a good chunk of its running time , trapped is an effective and claustrophobic thriller .
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a new film from bill plympton , the animation master , is always welcome .
1
authentic , and at times endearing , humorous , spooky , educational , but at other times as bland as a block of snow .
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the story gives ample opportunity for large-scale action and suspense , which director shekhar kapur supplies with tremendous skill .
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follows the original film virtually scene for scene and yet manages to bleed it almost completely dry of humor , verve and fun .
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while maintaining the appearance of clinical objectivity , this sad , occasionally horrifying but often inspiring film is among wiseman 's warmest .
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this is more fascinating -- being real -- than anything seen on jerry springer .
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cloaks a familiar anti-feminist equation ( career - kids = misery ) in tiresome romantic-comedy duds .
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the magic ( and original running time ) of ace japanimator hayao miyazaki 's spirited away survives intact in bv 's re-voiced version .
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unexpected moments of authentically impulsive humor are the hallmark of this bittersweet , uncommonly sincere movie that portrays the frank humanity ofM-^Eemotional recovery .
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alternating between facetious comic parody and pulp melodrama , this smart-aleck movie . . . tosses around some intriguing questions about the difference between human and android life .
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a free-for-all of half-baked thoughts , clumsily used visual tricks and self-indulgent actor moments .
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the slam-bang superheroics are kinetic enough to engross even the most antsy youngsters .
1
borrows from so many literary and cinematic sources that this future world feels absolutely deja vu .
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exactly what its title implies : lusty , boisterous and utterly charming .
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the film is insightful about kissinger 's background and history .
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this is mild-mannered , been-there material given a pedestrian spin by a director who needed a touch of the flamboyant , the outrageous .
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an exhilarating experience .
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it is just too bad the film 's story does not live up to its style .
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yet another self-consciously overwritten story about a rag-tag bunch of would-be characters that team up for a can't-miss heist -- only to have it all go wrong .
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what full frontal lacks in thematic coherence it largely makes up for as loosey-goosey , experimental entertainment . still , i 'm not quite sure what the point isM-^E
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unless you 're a fanatic , the best advice is : 'scooby ' do n't .
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