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a long , dull procession of despair , set to cello music culled from a minimalist funeral .
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it 's too interested in jerking off in all its byzantine incarnations to bother pleasuring its audience .
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in his debut as a film director , denzel washington delivers a lean and engaging work .
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the riveting performances by the incredibly flexible cast make love a joy to behold .
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it 's surprisingly bland despite the heavy doses of weird performances and direction .
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it asks nothing of the audience other than to sit back and enjoy a couple of great actors hamming it up .
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simone is not a bad film . it just does n't have anything really interesting to say .
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it smacks of purely commercial motivation , with no great love for the original .
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not really bad so much as distasteful : we need kidnapping suspense dramas right now like we need doomsday thrillers .
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. . . too contrived to be as naturally charming as it needs to be .
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the primitive force of this film seems to bubble up from the vast collective memory of the combatants . it 's like watching a nightmare made flesh .
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boldly engineering a collision between tawdry b-movie flamboyance and grandiose spiritual anomie , rose 's film , true to its source material , provides a tenacious demonstration of death as the great equalizer .
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scorsese at his best makes gangster films that are equally lovely but also relentlessly brutal and brutally intelligent ; perdition , meanwhile , reads more like driving miss daisy than goodfellas .
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a movie that will surely be profane , politically charged music to the ears of cho 's fans .
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the script is high on squaddie banter , low on shocks .
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offers enough playful fun to entertain the preschool set while embracing a wholesome attitude .
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for a story set at sea , ghost ship is pretty landbound , with its leaden acting , dull exposition and telegraphed 'surprises . '
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chalk it up as the worst kind of hubristic folly .
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nothing more or less than an outright bodice-ripper -- it should have ditched the artsy pretensions and revelled in the entertaining shallows .
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an example of quiet , confident craftsmanship that tells a sweet , charming tale of intergalactic friendship .
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hip-hop has a history , and it 's a metaphor for this love story .
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sadly , hewitt 's forte is leaning forward while wearing low-cut gowns , not making snappy comebacks .
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an energizing , intoxicating documentary charting the rise of hip-hop culture in general and the art of scratching ( or turntablism ) in particular .
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more tiring than anything .
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affable if not timeless , like mike raises some worthwhile themes while delivering a wholesome fantasy for kids .
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it 's a mystery how the movie could be released in this condition .
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`` looking for leonard `` just seems to kinda sit in neutral , hoping for a stiff wind to blow it uphill or something .
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claims to sort the bad guys from the good , which is its essential problem .
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lazy filmmaking , with the director taking a hands-off approach when he should have shaped the story to show us why it 's compelling .
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just a string of stale gags , with no good inside dope , and no particular bite .
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though only 60 minutes long , the film is packed with information and impressions .
1
i 'm sure the filmmakers found this a remarkable and novel concept , but anybody who has ever seen an independent film can report that it is instead a cheap clichM-i .
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a real winner -- smart , funny , subtle , and resonant .
1
finally , a genre movie that delivers -- in a couple of genres , no less .
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like the series , the movie is funny , smart , visually inventive , and most of all , alive .
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no movement , no yuks , not much of anything .
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this is one of the outstanding thrillers of recent years .
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this insufferable movie is meant to make you think about existential suffering . instead , it 'll only put you to sleep .
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there are just too many characters saying too many clever things and getting into too many pointless situations . where 's the movie here ?
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sam jones became a very lucky filmmaker the day wilco got dropped from their record label , proving that one man 's ruin may be another 's fortune .
1
in capturing the understated comedic agony of an ever-ruminating , genteel yet decadent aristocracy that can no longer pay its bills , the film could just as well be addressing the turn of the 20th century into the 21st .
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what could have been a neat little story about believing in yourself is swamped by heavy-handed melodrama .
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suffers from all the excesses of the genre .
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the action switches between past and present , but the material link is too tenuous to anchor the emotional connections that purport to span a 125-year divide .
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insomnia loses points when it surrenders to a formulaic bang-bang , shoot-em-up scene at the conclusion . but the performances of pacino , williams , and swank keep the viewer wide-awake all the way through .
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one of the most unpleasant things the studio has ever produced .
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amazingly dopey .
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raimi and his team could n't have done any better in bringing the story of spider-man to the big screen .
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red dragon makes one appreciate silence of the lambs .
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involving at times , but lapses quite casually into the absurd .
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sexy and romantic .
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both flawed and delayed , martin scorcese 's gangs of new york still emerges as his most vital work since goodfellas .
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a formula family tearjerker told with a heavy irish brogue . . . accentuating , rather than muting , the plot 's saccharine thrust .
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a wild ride juiced with enough energy and excitement for at least three films .
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the histrionic muse still eludes madonna and , playing a charmless witch , she is merely a charmless witch .
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remarkable for its intelligence and intensity .
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cherry orchard is badly edited , often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a 'back story . '
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unlike trey parker , sandler does n't understand that the idea of exploiting molestation for laughs is funny , not actually exploiting it yourself .
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everything about the quiet american is good , except its timing .
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denver should not get the first and last look at one of the most triumphant performances of vanessa redgrave 's career . it deserves to be seen everywhere .
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at some point , all this visual trickery stops being clever and devolves into flashy , vaguely silly overkill .
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the period -- swinging london in the time of the mods and the rockers -- gets the once-over once again in gangster no . 1 , but falls apart long before the end .
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scherfig 's light-hearted profile of emotional desperation is achingly honest and delightfully cheeky .
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as banal as the telling may be -- and at times , all my loved ones more than flirts with kitsch -- the tale commands attention .
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a gorgeous , high-spirited musical from india that exquisitely blends music , dance , song , and high drama .
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jones . . . does offer a brutal form of charisma .
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piccoli gives a superb performance full of deep feeling .
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lan yu is at times too restrained , yet there are moments it captures the erotics of intimacy in a way that makes most american love stories look downright unfree .
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a pro-fat farce that overcomes much of its excessive moral baggage thanks to two appealing lead performances .
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if you 're not into the pokemon franchise , this fourth animated movie in four years wo n't convert you -- or even keep your eyes open . but fans should have fun meeting a brand-new pokemon called celebi .
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i suspect that you 'll be as bored watching morvern callar as the characters are in it . if you go , pack your knitting needles .
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this is an ungainly movie , ill-fitting , with its elbows sticking out where the knees should be .
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if you can swallow its absurdities and crudities lagaan really is enormously good fun .
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aspires to the cracked lunacy of the adventures of buckaroo banzai , but thanks to an astonishingly witless script ends up more like the adventures of ford fairlane .
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a provocative movie about loss , anger , greed , jealousy , sickness and love .
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starts off with a bang , but then fizzles like a wet stick of dynamite at the very end . it 's still worth a look .
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handsome and sophisticated approach to the workplace romantic comedy .
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it sounds sick and twisted , but the miracle of shainberg 's film is that it truly is romance
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tartakovsky 's team has some freakish powers of visual charm , but the five writers slip into the modern rut of narrative banality .
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the scorpion king is more fun than conan the barbarian .
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fluffy and disposible .
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the great pity is that those responsible did n't cut their losses and ours and retitle it the adventures of direct-to-video nash , and send it to its proper home .
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by turns pretentious , fascinating , ludicrous , provocative and vainglorious .
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the movie is full of fine performances , led by josef bierbichler as brecht and monica bleibtreu as helene weigel , his wife .
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k-19 will not go down in the annals of cinema as one of the great submarine stories , but it is an engaging and exciting narrative of man confronting the demons of his own fear and paranoia .
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a poignant comedy that offers food for thought .
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this is a very fine movie -- go see it .
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it 's hard to believe that something so short could be so flabby .
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unfolds with such a wallop of you-are-there immediacy that when the bullets start to fly , your first instinct is to duck .
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. . . may work as an addictive guilty pleasure but the material never overcomes its questionable satirical ambivalence . this scarlet 's letter is a . . . as in aimless , arduous , and arbitrary .
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despite its lavish formalism and intellectual austerity , the film manages to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity .
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deep down , i realized the harsh reality of my situation : i would leave the theater with a lower i . q . than when i had entered .
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probes in a light-hearted way the romantic problems of individuals for whom the yearning for passion spells discontent .
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jirM-m hubac 's script is a gem . his characters are engaging , intimate and the dialogue is realistic and greatly moving . the scope of the silberstein family is large and we grow attached to their lives , full of strength , warmth and vitality . .
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the film tries to touch on spousal abuse but veers off course and becomes just another revenge film .
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the format gets used best . . . to capture the dizzying heights achieved by motocross and bmx riders , whose balletic hotdogging occasionally ends in bone-crushing screwups .
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you can sip your vintage wines and watch your merchant ivory productions ; i 'll settle for a nice cool glass of iced tea and a jerry bruckheimer flick any day of the week .
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what kids will discover is a new collectible . what parents will suspect is that they 're watching a 76-minute commercial .
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winds up feeling like lots of other quirky movies that try to score hipness points with young adults .
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while there 's likely very little crossover appeal to those without much interest in the elizabethans ( as well as rank frustration from those in the know about rubbo 's dumbed-down tactics ) , much ado about something is an amicable endeavor .
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