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everything that 's worthwhile about collision course can already be seen on television .
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an enjoyably half-wit remake of the venerable italian comedy big deal on madonna street .
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it appears as if even the filmmakers did n't know what kind of movie they were making .
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manages to be somewhat well-acted , not badly art-directed and utterly unengaging no matter how hard it tries to be thrilling , touching or , yikes , uproarious .
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combines a comically dismal social realism with a farcically bawdy fantasy of redemption and regeneration .
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in the new guy , even the bull gets recycled .
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[ howard ] so good as leon barlow . . . that he hardly seems to be acting .
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not too fancy , not too filling , not too fluffy , but definitely tasty and sweet .
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ou 've got to love a disney pic with as little cleavage as this one has , and a heroine as feisty and principled as jane .
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aimed squarely at the least demanding of demographic groups : very small children who will be delighted simply to spend more time with familiar cartoon characters .
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psychologically savvy .
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this is the kind of movie that gets a quick release before real contenders arrive in september .
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ze movie starts out so funny , then she is nothing .
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it is parochial , accessible to a chosen few , standoffish to everyone else , and smugly suggests a superior moral tone is more important than filmmaking skill
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get out your pooper-scoopers .
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this overproduced piece of dreck is shockingly bad and absolutely unnecessary . hmmmM-^Emight i suggest that the wayward wooden one end it all by stuffing himself into an electric pencil sharpener ?
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its compelling mix of trial movie , escape movie and unexpected fable ensures the film never feels draggy .
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a beyond-lame satire , teddy bears ' picnic ranks among the most pitiful directing debuts by an esteemed writer-actor .
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a mess when it comes to the characters and writing . . . but works its way underneath the skin like few movies have in recent memory .
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at first , the sight of a blind man directing a film is hilarious , but as the film goes on , the joke wears thin .
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when the casting call for this movie went out , it must have read 'seeking anyone with acting ambition but no sense of pride or shame . '
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it provides an honest look at a community striving to anchor itself in new grounds .
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this is a nicely handled affair , a film about human darkness but etched with a light ( yet unsentimental ) touch .
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a lively and engaging examination of how similar obsessions can dominate a family .
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the film is enriched by an imaginatively mixed cast of antic spirits , headed by christopher plummer as the subtlest and most complexly evil uncle ralph i 've ever seen in the many film and stage adaptations of the work .
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you come away thinking not only that kate is n't very bright , but that she has n't been worth caring about and that maybe she , janine and molly -- an all-woman dysfunctional family -- deserve one another .
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like a can of 2-day old coke . you can taste it , but there 's no fizz .
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to better understand why this did n't connect with me would require another viewing , and i wo n't be sitting through this one again . . . that in itself is commentary enough .
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a bittersweet drama about the limbo of grief and how truth-telling can open the door to liberation .
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ozpetek offers an aids subtext , skims over the realities of gay sex , and presents yet another tired old vision of the gay community as an all-inclusive world where uptight , middle class bores like antonia can feel good about themselves .
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. . . a preachy parable stylized with a touch of john woo bullet ballet .
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who needs love like this ?
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in a summer of clones , harvard man is something rare and riveting : a wild ride that relies on more than special effects .
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M-^Eits solemn pretension prevents us from sharing the awe in which it holds itself .
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caruso sometimes descends into sub-tarantino cuteness . . . but for the most part he makes sure the salton sea works the way a good noir should , keeping it tight and nasty .
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the colorful masseur wastes its time on mood rather than riding with the inherent absurdity of ganesh 's rise up the social ladder .
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no amount of good acting is enough to save oleander 's uninspired story .
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ultimately , clarity matters , both in breaking codes and making movies . enigma lacks it .
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the satire is just too easy to be genuinely satisfying .
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death might be a release .
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the level of maturity displayed by this 33-year-old first-time feature director is astonishing , considering her inexperience and her subject matter .
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the minor figures surrounding [ bobby ] . . . form a gritty urban mosaic .
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they were afraid to show this movie to reviewers before its opening , afraid of the bad reviews they thought they 'd earn . they were right .
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elmo touts his drug as being 51 times stronger than coke . if you 're looking for a tale of brits behaving badly , watch snatch again . it 's 51 times better than this .
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been there done that .
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thirty years ago , it would have been groundbreaking . now it 's just tired .
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an indispensable peek at the art and the agony of making people laugh .
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this is standard crime drama fare . . . instantly forgettable and thoroughly dull .
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this version incarnates the prophetic book in a way even its exacting author might admire .
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although laced with humor and a few fanciful touches , the film is a refreshingly serious look at young women .
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. . . a powerful sequel and one of the best films of the year .
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to paraphrase a line from another dickens ' novel , nicholas nickleby is too much like a fragment of an underdone potato .
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it 's a loathsome movie , it really is and it makes absolutely no sense .
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a piece of mildly entertaining , inoffensive fluff that drifts aimlessly for 90 minutes before lodging in the cracks of that ever-growing category : unembarrassing but unmemorable .
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despite its visual virtuosity , 'naqoyqatsi ' is banal in its message and the choice of material to convey it .
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i wish it would have just gone more over-the-top instead of trying to have it both ways .
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a funny and well-contructed black comedy where the old adage `` be careful what you wish for `` is given a full workout .
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the director and her capable cast appear to be caught in a heady whirl of new age-inspired good intentions , but the spell they cast is n't the least bit mesmerizing .
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despite an impressive roster of stars and direction from kathryn bigelow , the weight of water is oppressively heavy .
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merely as a technical , logistical feat , russian ark marks a cinematic milestone .
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barry sonnenfeld owes frank the pug big time
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a simpler , leaner treatment would have been preferable ; after all , being about nothing is sometimes funnier than being about something .
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not far beneath the surface , this reconfigured tale asks disturbing questions about those things we expect from military epics .
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recoing 's fantastic performance does n't exactly reveal what makes vincent tick , but perhaps any definitive explanation for it would have felt like a cheat .
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the average local news columnist has a bigger rant on the war between modern landscape architecture and small-town america .
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by turns fanciful , grisly and engagingly quixotic .
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cox is far more concerned with aggrandizing madness , not the man , and the results might drive you crazy .
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more romantic , more emotional and ultimately more satisfying than the teary-eyed original .
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bottom-rung new jack city wannabe .
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a hallmark film in an increasingly important film industry and worth the look .
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when a movie asks you to feel sorry for mick jagger 's sex life , it already has one strike against it .
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ranging from funny to shattering and featuring some of the year 's best acting , personal velocity gathers plenty of dramatic momentum .
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it may . . . work as a jaunt down memory lane for teens and young adults who grew up on televised scooby-doo shows or reruns .
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this movie feel more like a non-stop cry for attention , than an attempt at any kind of satisfying entertainment .
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. . . a good , if not entirely fresh , look at war .
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an intimate , good-humored ethnic comedy like numerous others but cuts deeper than expected .
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short-story quaint , touchingly mending a child 's pain for his dead mother via communication with an old woman straight out of eudora welty .
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this is a movie full of grace and , ultimately , hope .
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a slick , skillful little horror film .
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the result is an 'action film ' mired in stasis .
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an energetic , violent movie with a momentum that never lets up .
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beautifully observed , miraculously unsentimental comedy-drama .
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does anyone much think the central story of brendan behan is that he was a bisexual sweetheart before he took to drink ?
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yet another weepy southern bore-athon .
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a slick , well-oiled machine , exquisitely polished and upholstered .
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has the rare capability to soothe and break your heart with a single stroke .
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pratfalls aside , barbershop gets its greatest play from the timeless spectacle of people really talking to each other .
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the trappings of i spy are so familiar you might as well be watching a rerun .
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it 's an ambitious film , and as with all ambitious films , it has some problems . but on the whole , you 're gon na like this movie .
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ritchie 's film is easier to swallow than wertmuller 's polemical allegory , but it 's self-defeatingly decorous .
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melanie eventually slugs the yankee . too bad the former murphy brown does n't pop reese back .
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should n't have been allowed to use the word `` new `` in its title , because there 's not an original character , siuation or joke in the entire movie .
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helmer hudlin tries to make a hip comedy , but his dependence on slapstick defeats the possibility of creating a more darkly edged tome .
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a compelling french psychological drama examining the encounter of an aloof father and his chilly son after 20 years apart .
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very well made , but does n't generate a lot of tension .
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at once emotional and richly analytical , the cosby-seinfeld encounter alone confirms the serious weight behind this superficially loose , larky documentary .
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proves that a movie about goodness is not the same thing as a good movie .
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a must-see for fans of thoughtful war films and those interested in the sights and sounds of battle .
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oversexed , at times overwrought comedy/drama that offers little insight into the experience of being forty , female and single .
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laughably , irredeemably awful .
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