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[ t ] he ideas of revolution # 9 are more compelling than the execution
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godard 's ode to tackling life 's wonderment is a rambling and incoherent manifesto about the vagueness of topical excess . . . in praise of love remains a ponderous and pretentious endeavor that 's unfocused and tediously exasperating .
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despite apparent motives to the contrary , it ends up being , like [ seinfeld 's ] revered tv show , about pretty much nothing .
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nine queens is not only than a frighteningly capable debut and genre piece , but also a snapshot of a dangerous political situation on the verge of coming to a head .
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first-time writer-director serry shows a remarkable gift for storytelling with this moving , effective little film .
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rarely has sex on screen been so aggressively anti-erotic .
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not only unfunny , but downright repellent .
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an entertainment so in love with its overinflated mythology that it no longer recognizes the needs of moviegoers for real characters and compelling plots .
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on the right track to something that 's creepy and effective . . . it 's just going to take more than a man in a bullwinkle costume to get there .
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klein , charming in comedies like american pie and dead-on in election , delivers one of the saddest action hero performances ever witnessed .
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a crude teen-oriented variation on a theme that the playwright craig lucas explored with infinitely more grace and eloquence in his prelude to a kiss .
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boy , has this franchise ever run out of gas .
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a riveting profile of law enforcement , and a visceral , nasty journey into an urban hades .
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the film is itself a sort of cinematic high crime , one that brings military courtroom dramas down very , very low .
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the film 's constant mood of melancholy and its unhurried narrative are masterfully controlled . but M-^E in trying to capture the novel 's deeper intimate resonances , the film has M-^V ironically - distanced us from the characters .
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cliches are as thick as the cigarette smoke .
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jagger the actor is someone you want to see again .
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seems content to dog-paddle in the mediocre end of the pool , and it 's a sad , sick sight .
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bad in such a bizarre way that it 's almost worth seeing , if only to witness the crazy confluence of purpose and taste .
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an interesting story with a pertinent ( cinematically unique ) message , told fairly well and scored to perfection , i found myself struggling to put my finger on that elusive `` missing thing . ``
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a burst of color , music , and dance that only the most practiced curmudgeon could fail to crack a smile at .
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episode ii -- attack of the clones is a technological exercise that lacks juice and delight .
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young hanks and fisk , who vaguely resemble their celebrity parents , bring fresh good looks and an ease in front of the camera to the work .
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this is sandler running on empty , repeating what he 's already done way too often .
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[ johnnie to and wai ka fai are ] sure to find an enthusiastic audience among american action-adventure buffs , but the film 's interests may be too narrow to attract crossover viewers .
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the chateau belongs to rudd , whose portrait of a therapy-dependent flakeball spouting french malapropisms . . . is a nonstop hoot .
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apparently kissing leads to suicide attempts and tragic deaths . marisa tomei is good , but just a kiss is just a mess .
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the best thing about the movie is its personable , amusing cast .
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a very average science fiction film .
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it is interesting and fun to see goodall and her chimpanzees on the bigger-than-life screen .
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there are many things that solid acting can do for a movie , but crafting something promising from a mediocre screenplay is not one of them .
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the film was n't preachy , but it was feminism by the book .
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it 's tough to watch , but it 's a fantastic movie .
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a soap-opera quality twist in the last 20 minutes . . . almost puts the kibosh on what is otherwise a sumptuous work of b-movie imagination .
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mark pellington 's latest pop thriller is as kooky and overeager as it is spooky and subtly in love with myth .
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for every articulate player , such as skateboarder tony hawk or bmx rider mat hoffman , are about a half dozen young turks angling to see how many times they can work the words `` radical `` or `` suck `` into a sentence .
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the rock has a great presence but one battle after another is not the same as one battle followed by killer cgi effects .
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a film that clearly means to preach exclusively to the converted .
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this humbling little film , fueled by the light comedic work of zhao benshan and the delicate ways of dong jie , is just the sort for those moviegoers who complain that 'they do n't make movies like they used to anymore . '
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if jews were catholics , this would be catechism
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the only thing scary about feardotcom is that the filmmakers and studio are brazen enough to attempt to pass this stinker off as a scary movie .
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the words , 'frankly , my dear , i do n't give a damn , ' have never been more appropriate .
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no new plot conceptions or environmental changes , just different bodies for sharp objects to rip through .
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brown sugar signals director rick famuyiwa 's emergence as an articulate , grown-up voice in african-american cinema .
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american chai encourages rueful laughter at stereotypes only an indian-american would recognize . and the lesson , in the end , is nothing new .
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a movie that both thrills the eye and , in its over-the-top way , touches the heart .
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it 's probably worth catching solely on its visual merits . if only it had the story to match .
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at a time when commercialism has squeezed the life out of whatever idealism american moviemaking ever had , godfrey reggio 's career shines like a lonely beacon .
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they 're just a couple of cops in copmovieland , these two , but in narc , they find new routes through a familiar neighborhood .
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eventually , they will have a showdown , but , by then , your senses are as mushy as peas and you do n't care who fires the winning shot .
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an effectively creepy , fear-inducing ( not fear-reducing ) film from japanese director hideo nakata , who takes the superstitious curse on chain letters and actually applies it .
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narc is a no-bull throwback to 1970s action films . it zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special .
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pumpkin means to be an outrageous dark satire on fraternity life , but its ambitions far exceed the abilities of writer adam larson broder and his co-director , tony r . abrams , in their feature debut .
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worth seeing just for weaver and lapaglia .
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what you expect is just what you get . . . assuming the bar of expectations has n't been raised above sixth-grade height .
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a passable romantic comedy , in need of another couple of passes through the word processor .
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may puzzle his most ardent fans .
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while the transgressive trappings ( especially the frank sex scenes ) ensure that the film is never dull , rodrigues 's beast-within metaphor is ultimately rather silly and overwrought , making the ambiguous ending seem goofy rather than provocative .
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an enjoyable film for the family , amusing and cute for both adults and kids .
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eerily accurate depiction of depression .
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kinnear 's performance is a career-defining revelation .
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jackson shamefully strolls through this mess with a smug grin , inexplicably wearing a kilt and carrying a bag of golf clubs over one shoulder .
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a restrained ribisi convinces as an italian , though if ever a movie needed one of the actor 's whiny jags to pump it up , this has to be among the rare ones .
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alarms for duvall 's throbbing sincerity and his elderly propensity for patting people while he talks .
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a low-rent retread of the alien pictures .
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the film is often filled with a sense of pure wonderment and excitement not often seen in today 's cinema du sarcasm
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try as you might to scrutinize the ethics of kaufman 's approach , somehow it all comes together to create a very compelling , sensitive , intelligent and almost cohesive piece of film entertainment .
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hardly an objective documentary , but it 's great cinematic polemic . . . love moore or loathe him , you 've got to admire . . . the intensity with which he 's willing to express his convictions .
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it 's hard to imagine another director ever making his wife look so bad in a major movie .
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it 's the kind of effectively creepy-scary thriller that has you fixating on a far corner of the screen at times because your nerves just ca n't take it any more .
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[ sam 's ] self-flagellation is more depressing than entertaining .
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yet another entry in the sentimental oh-those-wacky-brits genre that was ushered in by the full monty and is still straining to produce another smash hit .
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a movie that feels like the pilot episode of a new teen-targeted action tv series .
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this version does justice both to stevenson and to the sci-fi genre .
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ken russell would love this . in one scene , we get a stab at soccer hooliganism , a double-barreled rip-off of quentin tarantino 's climactic shootout M-^W and meat loaf explodes .
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like mike is a harmlessly naM-ove slice of b-ball fantasy , fit for filling in during the real nba 's off-season .
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the good thing -- the only good thing -- about extreme ops is that it 's so inane that it gave me plenty of time to ponder my thanksgiving to-do list .
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it 's just plain lurid when it is n't downright silly .
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i 'm sure the filmmaker would disagree , but , honestly , i do n't see the point . it 's a visual rorschach test and i must have failed .
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exciting and direct , with ghost imagery that shows just enough to keep us on our toes .
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the script has less spice than a rat burger and the rock 's fighting skills are more in line with steven seagal .
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with this new rollerball , sense and sensibility have been overrun by what can only be characterized as robotic sentiment .
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the isolated moments of creative insanity finally are lost in the thin soup of canned humor .
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windtalkers celebrates the human spirit and packs an emotional wallop .
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the story has some nice twists but the ending and some of the back-story is a little tired . the performances are all solid ; it merely lacks originality to make it a great movie .
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a shambles of a movie -- visually unattractive , unbearably loud and utterly silly . . . its hilarity is completely unintentional .
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the film does n't really care about the thousands of americans who die hideously , it cares about how ryan meets his future wife and makes his start at the cia .
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had the film boasted a clearer , more memorable , the creepiness would have gotten under the skin .
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the fetid underbelly of fame has never looked uglier .
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it might be the first sci-fi comedy that could benefit from a three 's company-style laugh track .
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as a director , eastwood is off his game -- there 's no real sense of suspense , and none of the plot 'surprises ' are really surprising .
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shiri is an action film that delivers on the promise of excitement , but it also has a strong dramatic and emotional pull that gradually sneaks up on the audience .
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what 's needed so badly but what is virtually absent here is either a saving dark humor or the feel of poetic tragedy .
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bond-inspired ? certainly . likely to have decades of life as a classic movie franchise ? let 's hope not .
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yes , spirited away is a triumph of imagination , but it 's also a failure of storytelling .
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[ the film ] tackles the topic of relationships in such a straightforward , emotionally honest manner that by the end , it 's impossible to ascertain whether the film is , at its core , deeply pessimistic or quietly hopeful .
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shows holmes has the screen presence to become a major-league leading lady , ( but ) the movie itself is an underachiever , a psychological mystery that takes its sweet time building to a climax that 's scarcely a surprise by the time it arrives .
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constantly slips from the grasp of its maker .
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a marvellous journey from childhood idealism to adolescent self-absorption .
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a film of epic scale with an intimate feeling , a saga of the ups and downs of friendships .
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