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what 's so fun about this silly , outrageous , ingenious thriller is the director 's talent . watching a brian depalma movie is like watching an alfred hitchcock movie after drinking twelve beers .
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although it tries to be much more , it 's really just another major league .
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poetry in motion captured on film . while it can be a bit repetitive , overall it 's an entertaining and informative documentary .
1
a work of intricate elegance , literary lyricism and profound common sense .
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the sentimental cliches mar an otherwise excellent film . a powerful performance from mel gibson and a brutal 90-minute battle sequence that does everything but issue you a dog-tag and an m-16 .
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at its best when the guarded , resentful betty and the manipulative yet needy margot are front and center .
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challenging , intermittently engrossing and unflaggingly creative . but it 's too long and too convoluted and it ends in a muddle .
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parris ' performance is credible and remarkably mature .
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qualities that were once amusing are becoming irritating .
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demme finally succeeds in diminishing his stature from oscar-winning master to lowly studio hack .
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a graceless , witless attempt at mating some like it hot with the wwii espionage thriller .
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for close to two hours the audience is forced to endure three terminally depressed , mostly inarticulate , hyper dysfunctional families for the price of one .
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tennessee williams by way of oprah 's book club .
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there ought to be a directing license , so that ed burns can have his revoked .
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a grittily beautiful film that looks , sounds , and feels more like an extended , open-ended poem than a traditionally structured story .
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the film 's performances are thrilling .
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warm in its loving yet unforgivingly inconsistent depiction of everyday people , relaxed in its perfect quiet pace and proud in its message . i loved this film .
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goldbacher draws on an elegant visual sense and a talent for easy , seductive pacing . . . but she and writing partner laurence coriat do n't manage an equally assured narrative coinage .
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. . . comes alive only when it switches gears to the sentimental .
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a 93-minute condensation of a 26-episode tv series , with all of the pitfalls of such you 'd expect .
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you may leave the theater with more questions than answers , but darned if your toes wo n't still be tapping .
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strange , funny , twisted , brilliant and macabre .
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there 's no way to sort out the mess in our heads and deconstruct where it all went wrong . this is an hour and a half of daydreaming .
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it 's rare that a movie can be as intelligent as this one is in every regard except its storyline ; everything that 's good is ultimately scuttled by a plot that 's just too boring and obvious .
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accuracy and realism are terrific , but if your film becomes boring , and your dialogue is n't smart , then you need to use more poetic license .
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eh .
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. . . breathes surprising new life into the familiar by amalgamating genres and adding true human complexity to its not-so-stock characters .
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a venturesome , beautifully realized psychological mood piece that reveals its first-time feature director 's understanding of the expressive power of the camera .
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. . . little more than a well-acted television melodrama shot for the big screen .
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if the last man were the last movie left on earth , there would be a toss-up between presiding over the end of cinema as we know it and another night of delightful hand shadows .
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so unassuming and pure of heart , you ca n't help but warmly extend your arms and yell 'safe ! '
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there 's just no currency in deriding james bond for being a clichM-id , doddering , misogynistic boy 's club .
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the romance between the leads is n't as compelling or as believable as it should be .
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i 'm guessing the director is a magician . after all , he took three minutes of dialogue , 30 seconds of plot and turned them into a 90-minute movie that feels five hours long .
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however it may please those who love movies that blare with pop songs , young science fiction fans will stomp away in disgust .
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the chocolate factory without charlie .
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these self-styled athletes have banged their brains into the ground so frequently and furiously , their capacity to explain themselves has gone the same way as their natural instinct for self-preservation .
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the hours makes you examine your own life in much the same way its characters do , and the experience is profound . the hours is what movies are supposed to be . . .
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if nothing else , this movie introduces a promising , unusual kind of psychological horror .
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chicago is , in many ways , an admirable achievement .
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and if you appreciate the one-sided theme to lawrence 's over-indulgent tirade , then knock yourself out and enjoy the big screen postcard that is a self-glorified martin lawrence lovefest . if you are willing to do this , then you so crazy !
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take care of my cat offers a refreshingly different slice of asian cinema .
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ca n't seem to get anywhere near the story 's center .
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a grimly competent and stolid and earnest military courtroom drama .
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you 'll end up moved .
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it 's splash without the jokes .
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not an objectionable or dull film ; it merely lacks everything except good intentions .
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this is pretty dicey material . but some unexpected zigs and zags help .
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[ n ] o matter how much good will the actors generate , showtime eventually folds under its own thinness .
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dense , exhilarating documentary .
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while parker and co-writer catherine di napoli are faithful to melville 's plotline , they and a fully engaged supporting cast . . . have made the old boy 's characters more quick-witted than any english lit major would have thought possible .
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represents a worthy departure from the culture clash comedies that have marked an emerging indian american cinema .
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angela gheorghiu as famous prima donna floria tosca , roberto alagna as her lover mario cavaradossi , and ruggero as the villainous , lecherous police chief scarpia , all sing beautifully and act adequately .
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the wonderful combination of the sweetness and the extraordinary technical accomplishments of the first film are maintained , but its overall impact falls a little flat with a storyline that never quite delivers the original magic .
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edited and shot with a syncopated style mimicking the work of his subjects , pray turns the idea of the documentary on its head , making it rousing , invigorating fun lacking any mtv puffery .
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it 's mindless junk like this that makes you appreciate original romantic comedies like punch-drunk love .
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instead of building to a laugh riot we are left with a handful of disparate funny moments of no real consequence .
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savvy director robert j . siegel and his co-writers keep the story subtle and us in suspense .
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his work transcends the boy-meets-girl posturing of typical love stories .
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a turgid little history lesson , humourless and dull .
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in an era where big stars and high production values are standard procedure , narc strikes a defiantly retro chord , and outpaces its contemporaries with daring and verve .
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even if it is generally amusing from time to time , i spy has all the same problems the majority of action comedies have .
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likely to expertly drum up repressed teenage memories in any viewer .
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genuinely touching because it 's realistic about all kinds of love .
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the movie resolutely avoids all the comic possibilities of its situation , and becomes one more dumb high school comedy about sex gags and prom dates .
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warm water under a red bridge is a quirky and poignant japanese film that explores the fascinating connections between women , water , nature , and sexuality .
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yes , i suppose it 's lovely that cal works out his issues with his dad and comes to terms with his picture-perfect life -- but world traveler gave me no reason to care , so i did n't .
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. . . begins with promise , but runs aground after being snared in its own tangled plot .
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it 's pretentious in a way that verges on the amateurish .
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while the film is competent , it 's also uninspired , lacking the real talent and wit to elevate it beyond its formula to the level of classic romantic comedy to which it aspires .
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a standard haunted house tale transplanted to the high seas .
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in my opinion , analyze that is not as funny or entertaining as analyze this , but it is a respectable sequel .
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though its story is only surface deep , the visuals and enveloping sounds of blue crush make this surprisingly decent flick worth a summertime look-see .
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snoots will no doubt rally to its cause , trotting out threadbare standbys like 'masterpiece ' and 'triumph ' and all that malarkey , but rarely does an established filmmaker so ardently waste viewers ' time with a gobbler like this .
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for all its violence , the movie is remarkably dull with only caine making much of an impression .
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a quiet , pure , elliptical film
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a deep and meaningful film .
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now i can see why people thought i was too hard on `` the mothman prophecies `` .
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as it stands it 's an opera movie for the buffs .
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the emperor 's club is one of those films that possesses all the good intentions in the world , but . . .
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the piano teacher is the sort of movie that discourages american audiences from ever wanting to see another foreign film .
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nicks sustains the level of exaggerated , stylized humor throughout by taking your expectations and twisting them just a bit .
1
judd 's characters ought to pick up the durable best seller smart women , foolish choices for advice .
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may be far from the best of the series , but it 's assured , wonderfully respectful of its past and thrilling enough to make it abundantly clear that this movie phenomenon has once again reinvented itself for a new generation .
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with miscast leads , banal dialogue and an absurdly overblown climax , killing me softly belongs firmly in the so-bad-it's-good camp .
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the balkans provide the obstacle course for the love of a good woman .
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although made on a shoestring and unevenly acted , conjures a lynch-like vision of the rotting underbelly of middle america .
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its plot and animation offer daytime tv serviceability , but little more .
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those who want to be jolted out of their gourd should drop everything and run to ichi .
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often shocking but ultimately worthwhile exploration of motherhood and desperate mothers .
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there are now two signs that m . night shyamalan 's debut feature sucked up all he has to give to the mystic genres of cinema : unbreakable and signs .
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the director mostly plays it straight , turning leys ' fable into a listless climb down the social ladder .
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although shot with little style , skins is heartfelt and achingly real .
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a wild ride with eight boarders from venice beach that was a deserved co-winner of the audience award for documentaries at the sundance film festival .
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definitely in the guilty pleasure b-movie category , reign of fire is so incredibly inane that it is laughingly enjoyable .
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veers uncomfortably close to pro-serb propaganda .
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the salton sea has moments of inspired humour , though every scrap is of the darkest variety .
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the whole movie is simply a lazy exercise in bad filmmaking that asks you to not only suspend your disbelief but your intelligence as well .
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hayek is stunning as frida and . . . a star-making project .
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ultimately feels empty and unsatisfying , like swallowing a communion wafer without the wine .
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