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tale will be all too familiar for anyone who 's seen george roy hill 's 1973 film , `` the sting . ``
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this is not an easy film . but it could be , by its art and heart , a necessary one .
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hailed as a clever exercise in neo-hitchcockianism , this clever and very satisfying picture is more accurately chabrolian .
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the film 's desire to be liked sometimes undermines the possibility for an exploration of the thornier aspects of the nature/nurture argument in regards to homosexuality .
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a wild comedy that could only spring from the demented mind of the writer of being john malkovich .
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fans of the modern day hong kong action film finally have the worthy successor to a better tomorrow and the killer which they have been patiently waiting for .
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analyze that regurgitates and waters down many of the previous film 's successes , with a few new swings thrown in .
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martyr gets royally screwed and comes back for more .
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laggard drama wending its way to an uninspired philosophical epiphany .
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the large-frame imax camera lends itself beautifully to filming the teeming life on the reefs , making this gorgeous film a must for everyone from junior scientists to grown-up fish lovers .
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easier to respect than enthuse over , andersson 's rigorous personal vision is not only distanced but distancing .
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despite a performance of sustained intelligence from stanford and another of subtle humour from bebe neuwirth , as an older woman who seduces oscar , the film founders on its lack of empathy for the social milieu - rich new york intelligentsia - and its off
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the thriller side of this movie is falling flat , as the stalker does n't do much stalking , and no cop or lawyer grasps the concept of actually investigating the case .
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marshall puts a suspenseful spin on standard horror flick formula .
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[ morgan ] , judd and franklin ca n't save the script , rooted in a novel by joseph finder , from some opportunism .
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the master of disguise is funny -- not `` ha ha `` funny , `` dead circus performer `` funny . and for all the wrong reasons besides .
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the amazing film work is so convincing that by movies ' end you 'll swear you are wet in some places and feel sand creeping in others .
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is n't quite the equal of woo 's best earlier work , but it 's easily his finest american film . . . comes close to recapturing the brilliance of his hong kong films .
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it all comes down to whether you can tolerate leon barlow . i ca n't .
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features fincher 's characteristically startling visual style and an almost palpable sense of intensity .
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it helps that lil bow wow . . . tones down his pint-sized gangsta act to play someone who resembles a real kid .
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though it 's equally solipsistic in tone , the movie has enough vitality to justify the notion of creating a screen adaptation of evans ' saga of hollywood excess .
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rifkin no doubt fancies himself something of a hubert selby jr . , but there is n't an ounce of honest poetry in his entire script ; it 's simply crude and unrelentingly exploitative .
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does n't really add up to much .
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an achingly enthralling premise , the film is hindered by uneven dialogue and plot lapses .
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using a stock plot , about a boy injects just enough freshness into the proceedings to provide an enjoyable 100 minutes in a movie theater .
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first-time writer-director dylan kidd also has a good ear for dialogue , and the characters sound like real people .
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she may not be real , but the laughs are .
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kinnear and dafoe give what may be the performances of their careers .
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examines its explosive subject matter as nonjudgmentally as wiseman 's previous studies of inner-city high schools , hospitals , courts and welfare centers .
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after sitting through this sloppy , made-for-movie comedy special , it makes me wonder if lawrence hates criticism so much that he refuses to evaluate his own work .
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highly recommended viewing for its courage , ideas , technical proficiency and great acting .
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a bore that tends to hammer home every one of its points .
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eckstraordinarily lame and severely boring .
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the dramatic crisis does n't always succeed in its quest to be taken seriously , but huppert 's volatile performance makes for a riveting movie experience .
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content merely to lionize its title character and exploit his anger - all for easy sanctimony , formulaic thrills and a ham-fisted sermon on the need for national health insurance .
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an enjoyable experience .
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a good thriller .
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a summary of the plot does n't quite do justice to the awfulness of the movie , for that comes through all too painfully in the execution .
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brings to a spectacular completion one of the most complex , generous and subversive artworks of the last decade .
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it 's a smart , solid , kinetically-charged spy flick worthy of a couple hours of summertime and a bucket of popcorn . nothing overly original , mind you , but solidly entertaining .
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the first bond movie in ages that is n't fake fun .
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a gimmick in search of a movie : how to get carvey into as many silly costumes and deliver as many silly voices as possible , plot mechanics be damned .
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phoned-in business as usual .
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a confluence of kiddie entertainment , sophisticated wit and symbolic graphic design .
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there are enough throwaway references to faith and rainbows to plant smile-button faces on that segment of the populace that made a walk to remember a niche hit .
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high crimes steals so freely from other movies and combines enough disparate types of films that it ca n't help but engage an audience .
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a keep-'em-guessing plot and an affectionate take on its screwed-up characters .
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. . . feels as if ( there 's ) a choke leash around your neck so director nick cassavetes can give it a good , hard yank whenever he wants you to feel something .
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. . . del toro maintains a dark mood that makes the film seem like something to endure instead of enjoy .
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more trifle than triumph .
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ao sair do cinema , eu estava feliz e com saudades de um tempo em que , para mim , a existM-jncia de papai noel era um fato inquestionM-avel .
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a delightful coming-of-age story .
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the lady and the duke is a smart , romantic drama that dares to depict the french revolution from the aristocrats ' perspective .
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too leisurely paced and visually drab for its own good , it succeeds in being only sporadically amusing .
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quitting delivers a sucker-punch , and its impact is all the greater beause director zhang 's last film , the cuddly shower , was a non-threatening multi-character piece centered around a public bath house .
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a well-put-together piece of urban satire .
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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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. . . ( like ) channel surfing between the discovery channel and a late-night made-for-cable action movie .
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the acting alone is worth the price of admission .
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the gentle comic treatment of adolescent sturm und drang should please fans of chris fuhrman 's posthumously published cult novel .
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we never really feel involved with the story , as all of its ideas remain just that : abstract ideas .
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seagal is painfully foolish in trying to hold onto what 's left of his passe ' chopsocky glory .
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an uneven mix of dark satire and childhood awakening .
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even if you 're an agnostic carnivore , you can enjoy much of jonah simply , and gratefully , as laugh-out-loud lunacy with a pronounced monty pythonesque flavor .
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such a fine idea for a film , and such a stultifying , lifeless execution .
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both a detective story and a romance spiced with the intrigue of academic skullduggery and politics .
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the most wondrous love story in years , it is a great film .
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the movie is as far as you can get from racy , to the point where it almost stops the blood flow to your brain ; it has a dull , costumey feel .
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it 's difficult to imagine the process that produced such a script , but here 's guessing that spray cheese and underarm noises played a crucial role .
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my own minority report is that it stinks .
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truth to tell , if you 've seen more than half-a-dozen horror films , there 's nothing here you have n't seen before .
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assured , vital and well wrought , the film is , arguably , the most accomplished work to date from hong kong 's versatile stanley kwan .
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my wife is an actress has its moments in looking at the comic effects of jealousy . in the end , though , it is only mildly amusing when it could have been so much more .
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evelyn 's strong cast and surehanded direction make for a winning , heartwarming yarn .
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an imponderably stilted and self-consciously arty movie .
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a brutal and funny work . nicole holofcenter , the insightful writer/director responsible for this illuminating comedy does n't wrap the proceedings up neatly but the ideas tie together beautifully .
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schnieder bounces around with limp wrists , wearing tight tummy tops and hip huggers , twirling his hair on his finger and assuming that 's enough to sustain laughs . . .
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a superfluous sequel . . . plagued by that old familiar feeling of 'let 's get this thing over with ' : everyone has shown up at the appointed time and place , but visible enthusiasm is mighty hard to find .
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i hope the movie is widely seen and debated with appropriate ferocity and thoughtfulness .
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top-notch action powers this romantic drama .
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. . . instead go rent `` shakes the clown `` , a much funnier film with a similar theme and an equally great robin williams performance .
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majidi gets uniformly engaging performances from his largely amateur cast .
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the footage of the rappers at play and the prison interview with suge knight are just two of the elements that will grab you .
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could the whole plan here have been to produce something that makes fatal attraction look like a classic by comparison ? that 's the only sane rationale i can think of for swimfan 's existence .
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rich in atmosphere of the post-war art world , it manages to instruct without reeking of research library dust .
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a smart , sweet and playful romantic comedy .
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not sweet enough to liven up its predictable story and will leave even fans of hip-hop sorely disappointed .
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it takes you somewhere you 're not likely to have seen before , but beneath the exotic surface ( and exotic dancing ) it 's surprisingly old-fashioned .
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andersson creates a world that 's at once surreal and disturbingly familiar ; absurd , yet tremendously sad .
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an odd drama set in the world of lingerie models and bar dancers in the midwest that held my interest precisely because it did n't try to .
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this is dicaprio 's best performance in anything ever , and easily the most watchable film of the year .
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there ai n't a lot more painful than an unfunny movie that thinks it 's hilarious .
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slap me , i saw this movie .
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even though the film does n't manage to hit all of its marks , it 's still entertaining to watch the target practice .
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this is the kind of movie that used to be right at home at the saturday matinee , and it still is .
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hope keeps arising that the movie will live up to the apparent skills of its makers and the talents of its actors , but it does n't .
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if oscar had a category called best bad film you thought was going to be really awful but was n't , guys would probably be duking it out with the queen of the damned for the honor .
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feels strangely hollow at its emotional core .
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it tells more than it shows .
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