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it made me realize that we really have n't had a good cheesy b-movie playing in theaters since . . . well . . . since last week 's reign of fire .
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aside from the fact that the film idiotically uses the website feardotcom . com or the improperly hammy performance from poor stephen rea , the film gets added disdain for the fact that it is nearly impossible to look at or understand .
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using his audience as a figurative port-of-call , dong pulls his even-handed ideological ship to their dock for unloading , before he continues his longer journey still ahead .
1
outrageousness is all plympton seemed to be going for this time . we miss the quirky amazement that used to come along for an integral part of the ride .
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by the miserable standards to which the slasher genre has sunk , . . . actually pretty good . of course , by more objective measurements it 's still quite bad .
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its weighty themes are too grave for youngsters , but the story is too steeped in fairy tales and other childish things to appeal much to teenagers .
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the plot meanders from gripping to plodding and back .
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chilling in its objective portrait of dreary , lost twenty-first century america .
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it desperately wants to be a wacky , screwball comedy , but the most screwy thing here is how so many talented people were convinced to waste their time .
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just a bloody mess .
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even if you 've seen `` stomp `` ( the stage show ) , you still have to see this !
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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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until ( the ) superfluous . . . epilogue that leaks suspension of disbelief like a sieve , die another day is as stimulating & heart-rate-raising as any james bond thriller .
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a comedy-drama of nearly epic proportions rooted in a sincere performance by the title character undergoing midlife crisis .
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a romantic comedy , yes , but one with characters who think and talk about their goals , and are working on hard decisions .
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on this tricky topic , tadpole is very much a step in the right direction , with its blend of frankness , civility and compassion .
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usually when i get this much syrup , i like pancakes to go with it .
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a movie i loved on first sight and , even more important , love in remembrance .
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solondz creates some effective moments of discomfort for character and viewer alike .
1
it 's one pussy-ass world when even killer-thrillers revolve around group therapy sessions .
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like kissing jessica stein , amy 's orgasm has a key strength in its willingness to explore its principal characters with honesty , insight and humor .
1
a film that begins with the everyday lives of naval personnel in san diego and ends with scenes so true and heartbreaking that tears welled up in my eyes both times i saw the film .
1
now trimmed by about 20 minutes , this lavish three-year-old production has enough grandeur and scale to satisfy as grown-up escapism .
1
jeong-hyang lee 's film is deceptively simple , deeply satisfying .
1
directed with purpose and finesse by england 's roger mitchell , who handily makes the move from pleasing , relatively lightweight commercial fare such as notting hill to commercial fare with real thematic heft .
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the movie 's relatively simple plot and uncomplicated morality play well with the affable cast .
1
after the first 10 minutes , which is worth seeing , the movie sinks into an abyss of clichM-is , depression and bad alternative music .
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greengrass ( working from don mullan 's script ) forgoes the larger socio-political picture of the situation in northern ireland in favour of an approach that throws one in the pulsating thick of a truly frightening situation .
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vividly demonstrates that the director of such hollywood blockbusters as patriot games can still turn out a small , personal film with an emotional wallop .
1
[ a ] stuporously solemn film .
0
what happened with pluto nash ? how did it ever get made ?
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twohy knows how to inflate the mundane into the scarifying , and gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record .
1
when one hears harry shearer is going to make his debut as a film director , one would hope for the best
0
sometimes charming , sometimes infuriating , this argentinean 'dramedy ' succeeds mainly on the shoulders of its actors .
1
grant is n't cary and bullock is n't katherine .
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combines sharp comedy , old-fashioned monster movie atmospherics , and genuine heart to create a film that 's not merely about kicking undead * * * , but also about dealing with regret and , ultimately , finding redemption .
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whether you like rap music or loathe it , you ca n't deny either the tragic loss of two young men in the prime of their talent or the power of this movie .
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it 's a work by an artist so in control of both his medium and his message that he can improvise like a jazzman .
1
the smartest bonehead comedy of the summer .
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both heartbreaking and heartwarming . . . just a simple fable done in an artless sytle , but it 's tremendously moving .
1
those 24-and-unders looking for their own caddyshack to adopt as a generational signpost may have to keep on looking .
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. . . planos fijos , tomas largas , un ritmo pausado y una sutil observaciM-sn de sus personajes , sin estridencias ni grandes revelaciones .
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the only question . . . is to determine how well the schmaltz is manufactured -- to assess the quality of the manipulative engineering . average , at best , i 'm afraid .
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director barry skolnick and his screenwriters glibly tick off every point of `` the longest yard `` playbook like a checklist .
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featherweight romantic comedy has a few nice twists in a standard plot and the charisma of hugh grant and sandra bullock .
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the only element of suspense is whether the movie will change titles or distributors again before the closing credits roll .
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a quiet family drama with a little bit of romance and a dose of darkness .
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although barbershop boasts some of today 's hottest and hippest acts from the world of television , music and stand-up comedy , this movie strangely enough has the outdated swagger of a shameless M-^Q70s blaxploitation shuck-and-jive sitcom .
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all the performances are top notch and , once you get through the accents , all or nothing becomes an emotional , though still positive , wrench of a sit .
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it 's the kind of movie you ca n't quite recommend because it is all windup and not much of a pitch , yet you ca n't bring yourself to dislike it .
0
with generic sets and b-grade special effects , jason is about as convincing on the sci-fi front as tv 's defunct cleopatra 2525 .
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no amount of nostalgia for carvey 's glory days can disguise the fact that the new film is a lame kiddie flick and that carvey 's considerable talents are wasted in it .
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the paradiso 's rusted-out ruin and ultimate collapse during the film 's final ( restored ) thirdM-^Eemotionally belittle a cinema classic . sometimes shorter is better .
1
reinforces the talents of screenwriter charlie kaufman , creator of adaptation and being john malkovich .
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the new insomnia is a surprisingly faithful remake of its chilly predecessor , and when it does elect to head off in its own direction , it employs changes that fit it well rather than ones that were imposed for the sake of commercial sensibilities .
1
noyce 's film is contemplative and mournfully reflective .
1
a haunting tale of murder and mayhem .
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. . . a quietly introspective portrait of the self-esteem of employment and the shame of losing a job . . .
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a moving and not infrequently breathtaking film .
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a tour de force drama about the astonishingly pivotal role of imagination in the soulful development of two rowdy teenagers .
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. . . a haunting vision , with images that seem more like disturbing hallucinations .
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'a ' for creativity but comes across more as a sketch for a full-length comedy .
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a bad movie that happened to good actors .
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it 's all about anakin . . . and the lustrous polished visuals rich in color and creativity and , of course , special effect .
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there 's nothing remotely topical or sexy here .
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by the end , i was looking for something hard with which to bludgeon myself unconscious .
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the fourth `` pokemon `` is a diverting -- if predictable -- adventure suitable for a matinee , with a message that cautions children about disturbing the world 's delicate ecological balance .
1
perhaps no picture ever made has more literally showed that the road to hell is paved with good intentions .
1
even if you ca n't pronounce `` gyro `` correctly , you 'll appreciate much of vardalos ' humor , which transcends ethnic boundaries .
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'you 'll laugh for not quite and hour and a half , but come out feeling strangely unsatisfied . you 'll feel like you ate a reeses without the peanut butter . . . '
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i can take infantile humor . . . but this is the sort of infantile that makes you wonder about changing the director and writer 's diapers .
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a film with a great premise but only a great premise .
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the only thing `` swept away `` is the one hour and thirty-three minutes spent watching this waste of time .
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the screenplay by james eric , james horton and director peter o'fallon . . . is so pat it makes your teeth hurt .
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like rudy yellow lodge , eyre needs to take a good sweat to clarify his cinematic vision before his next creation and remember the lessons of the trickster spider .
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one of those films that started with a great premise and then just fell apart .
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a 94-minute travesty of unparalleled proportions , writer-director parker seems to go out of his way to turn the legendary wit 's classic mistaken identity farce into brutally labored and unfunny hokum .
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an engrossing and infectiously enthusiastic documentary .
1
the picture , scored by a perversely cheerful marcus miller accordion/harmonica/banjo abomination , is a monument to bad in all its florid variety .
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if s & m seems like a strange route to true love , maybe it is , but it 's to this film 's ( and its makers ' ) credit that we believe that that 's exactly what these two people need to find each other -- and themselves .
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a seriocomic debut of extravagant promise by georgian-israeli director dover kosashvili .
1
the delicious trimmingsM-^Earrive early and stay late , filling nearly every minuteM-^Ewith a lighthearted glow , some impudent snickers , and a glorious dose of humankind 's liberating ability to triumph over a scrooge or two .
1
as commander-in-chief of this film , bigelow demonstrates a breadth of vision and an attention to detail that propels her into the upper echelons of the directing world .
1
a recent favourite at sundance , this white-trash satire will inspire the affection of even those unlucky people who never owned a cassette of def leppard 's pyromania .
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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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instead of using george and lucy 's most obvious differences to ignite sparks , lawrence desperately looks elsewhere , seizing on george 's haplessness and lucy 's personality tics .
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what will , most likely , turn out to be the most repellent movie of 2002 .
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is not so much a work of entertainment as it is a unique , well-crafted psychological study of grief .
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enough may pander to our basest desires for payback , but unlike many revenge fantasies , it ultimately delivers .
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a cinematic sleeping pill of impressive potency .
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to enjoy this movie 's sharp dialogue and delightful performance by jolie and burns , you have to gloss over the no sense ending .
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. . . another example of how sandler is losing his touch .
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a masterful film from a master filmmaker , unique in its deceptive grimness , compelling in its fatalist worldview .
1
while hoffman 's performance is great , the subject matter goes nowhere .
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not about scares but a mood in which an ominous , pervasive , and unknown threat lurks just below the proceedings and adds an almost constant mindset of suspense .
1
one sloughs one 's way through the mire of this alleged psychological thriller in search of purpose or even a plot .
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the most repugnant adaptation of a classic text since roland joffM-i and demi moore 's the scarlet letter .
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the logic of it all will be greek to anyone not predisposed to the movie 's rude and crude humor .
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admirers of director abel ferrara may be relieved that his latest feature , r xmas , marks a modest if encouraging return to form .
1
hollywood ending is not show-stoppingly hilarious , but scathingly witty nonetheless .
1