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the most anti-human big studio picture since 3000 miles to graceland .
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the film can depress you about life itself .
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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 cliché .
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the acting is fine but the script is about as interesting as a recording of conversations at the wal-mart checkout line .
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its weighty themes are too grave for youngsters , but the story is too steeped in fairy tales and other childish things to appeal much to teenagers .
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the plot plummets into a comedy graveyard before janice comes racing to the rescue in the final reel .
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sometimes there are very , very good reasons for certain movies to be sealed in a jar and left on a remote shelf indefinitely .
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at 90 minutes this movie is short , but it feels much longer .
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here's my advice , kev . start reading your scripts before signing that dotted line .
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an alternately raucous and sappy ethnic sitcom . . . you'd be wise to send your regrets .
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an ugly-duckling tale so hideously and clumsily told it feels accidental .
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unfortunately , it's also not very good . especially compared with the television series that inspired the movie .
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it wraps up a classic mother/daughter struggle in recycled paper with a shiny new bow and while the audience can tell it's not all new , at least it looks pretty .
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glazed with a tawdry b-movie scum .
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this is the kind of movie during which you want to bang your head on the seat in front of you , at its cluelessness , at its idiocy , at its utterly misplaced earnestness .
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it winds up moving in many directions as it searches ( vainly , i think ) for something fresh to say .
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all in all , road to perdition is more in love with strangeness than excellence .
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a big fat pain .
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a mimetic approximation of better films like contempt and 8 1/2 .
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unintelligible , poorly acted , brain-slappingly bad , harvard man is ludicrous enough that it could become a cult classic .
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watching the powerpuff girls movie , my mind kept returning to one anecdote for comparison : the cartoon in japan that gave people seizures .
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aan opportunity wasted .
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an inelegant combination of two unrelated shorts that falls far short of the director's previous work in terms of both thematic content and narrative strength .
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to build a feel-good fantasy around a vain dictator-madman is off-putting , to say the least , not to mention inappropriate and wildly undeserved .
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with the cheesiest monsters this side of a horror spoof , which they isn't , it is more likely to induce sleep than fright .
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mild , meandering teen flick .
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though its atmosphere is intriguing . . . the drama is finally too predictable to leave much of an impression .
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though this rude and crude film does deliver a few gut-busting laughs , its digs at modern society are all things we've seen before .
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although it tries to be much more , it's really just another major league .
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astonishing isn't the word -- neither is incompetent , incoherent or just plain crap . indeed , none of these words really gets at the very special type of badness that is deuces wild .
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one thing is for sure : this movie does not tell you a whole lot about lily chou-chou .
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with a tone as variable as the cinematography , schaeffer's film never settles into the light-footed enchantment the material needs , and the characters' quirks and foibles never jell into charm .
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to better understand why this didn't connect with me would require another viewing , and i won't be sitting through this one again . . . that in itself is commentary enough .
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cuba gooding jr . valiantly mugs his way through snow dogs , but even his boisterous energy fails to spark this leaden comedy .
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diane lane's sophisticated performance can't rescue adrian lyne's unfaithful from its sleazy moralizing .
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not at all clear what it's trying to say and even if it were – i doubt it would be all that interesting .
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storytelling feels slight .
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[swimfan] falls victim to sloppy plotting , an insultingly unbelievable final act and a villainess who is too crazy to be interesting .
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this remake of lina wertmuller's 1975 eroti-comedy might just be the biggest husband-and-wife disaster since john and bo derek made the ridiculous bolero .
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silly , loud and goofy .
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why spend $9 on the same stuff you can get for a buck or so in that greasy little vidgame pit in the theater lobby ?
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the french director has turned out nearly 21/2 hours of unfocused , excruciatingly tedious cinema that , half an hour in , starts making water torture seem appealing .
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the basic premise is intriguing but quickly becomes distasteful and downright creepy .
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the pool drowned me in boredom .
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it's like an all-star salute to disney's cheesy commercialism .
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it's hard to imagine any recent film , independent or otherwise , that makes as much of a mess as this one .
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some of the computer animation is handsome , and various amusing sidekicks add much-needed levity to the otherwise bleak tale , but overall the film never rises above mediocrity .
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there's an excellent 90-minute film here ; unfortunately , it runs for 170 .
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as saccharine movies go , this is likely to cause massive cardiac arrest if taken in large doses .
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die another day is only intermittently entertaining but it's hard not to be a sucker for its charms , or perhaps it's just impossible not to feel nostalgia for movies you grew up with .
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as is often the case with ambitious , eager first-time filmmakers , mr . murray , a prolific director of music videos , stuffs his debut with more plot than it can comfortably hold .
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the mystery of enigma is how a rich historical subject , combined with so much first-rate talent . . . could have yielded such a flat , plodding picture .
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it throws quirky characters , odd situations , and off-kilter dialogue at us , all as if to say , " look at this ! this is an interesting movie ! " but the film itself is ultimately quite unengaging .
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the inherent limitations of using a video game as the source material movie are once again made all too clear in this schlocky horror/action hybrid .
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bad company . bad movie . just plain bad .
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it's not only dull because we've seen [eddie] murphy do the genial-rogue shtick to death , but because the plot is equally hackneyed .
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avary's film never quite emerges from the shadow of ellis' book .
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a poorly scripted , preachy fable that forgets about unfolding a coherent , believable story in its zeal to spread propaganda .
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while it is interesting to witness the conflict from the palestinian side , longley's film lacks balance . . . and fails to put the struggle into meaningful historical context .
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woo has as much right to make a huge action sequence as any director , but how long will filmmakers copy the " saving private ryan " battle scenes before realizing steven spielberg got it right the first time ?
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it's sincere to a fault , but , unfortunately , not very compelling or much fun .
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. . . jones , despite a definitely distinctive screen presence , just isn't able to muster for a movie that , its title notwithstanding , should have been a lot nastier if it wanted to fully capitalize on its lead's specific gifts .
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this follow-up seems so similar to the 1953 disney classic that it makes one long for a geriatric peter .
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why , you may ask , why should you buy the movie milk when the tv cow is free ? there's no good answer to that one .
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this slow-moving swedish film offers not even a hint of joy , preferring to focus on the humiliation of martin as he defecates in bed and urinates on the plants at his own birthday party .
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a muddled limp biscuit of a movie , a vampire soap opera that doesn't make much sense even on its own terms .
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there's the plot , and a maddeningly insistent and repetitive piano score that made me want to scream .
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this is a movie so insecure about its capacity to excite that it churns up not one but two flagrantly fake thunderstorms to underscore the action .
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this is amusing for about three minutes .
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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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it's rare to see a movie that takes such a speedy swan dive from " promising " to " interesting " to " familiar " before landing squarely on " stupid " .
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this is the sort of low-grade dreck that usually goes straight to video --with a lousy script , inept direction , pathetic acting , poorly dubbed dialogue and murky cinematography , complete with visible boom mikes .
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the direction occasionally rises to the level of marginal competence , but for most of the film it is hard to tell who is chasing who or why .
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there are few things more frustrating to a film buff than seeing an otherwise good movie marred beyond redemption by a disastrous ending .
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it won't harm anyone , but neither can i think of a very good reason to rush right out and see it . after all , it'll probably be in video stores by christmas , and it might just be better suited to a night in the living room than a night at the movies .
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looks more like a travel-agency video targeted at people who like to ride bikes topless and roll in the mud than a worthwhile glimpse of independent-community guiding lights .
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given too much time to consider the looseness of the piece , the picture begins to resemble the shapeless , grasping actors' workshop that it is .
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they kept much of the plot but jettisoned the stuff that would make this a moving experience for people who haven't read the book .
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just because a walk to remember is shrewd enough to activate girlish tear ducts doesn't mean it's good enough for our girls .
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[carvey's] characters are both overplayed and exaggerated , but then again , subtlety has never been his trademark .
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it's mildly interesting to ponder the peculiar american style of justice that plays out here , but it's so muddled and derivative that few will bother thinking it all through .
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this dreadfully earnest inversion of the concubine love triangle eschews the previous film's historical panorama and roiling pathos for bug-eyed mugging and gay-niche condescension .
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brown's saga , like many before his , makes for snappy prose but a stumblebum of a movie .
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the boys' sparring , like the succession of blows dumped on guei , wears down the story's more cerebral , and likable , plot elements .
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the script by vincent r . nebrida . . . tries to cram too many ingredients into one small pot .
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the story is so light and sugary that were it a macy's thanksgiving day parade balloon , extra heavy-duty ropes would be needed to keep it from floating away .
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oedekerk mugs mercilessly , and the genuinely funny jokes are few and far between .
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since dahmer resorts to standard slasher flick thrills when it should be most in the mind of the killer , it misses a major opportunity to be truly revelatory about his psyche .
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only those most addicted to film violence in all its forms will find anything here to appreciate .
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cold and scattered , minority report commands interest almost solely as an exercise in gorgeous visuals . that's not vintage spielberg and that , finally , is minimally satisfying .
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every now and again , a movie comes along to remind us of how very bad a motion picture can truly be . frank mcklusky c . i . is that movie !
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it's not difficult to spot the culprit early-on in this predictable thriller .
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[a] soulless , stupid sequel . . .
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. . . a mostly boring affair with a confusing sudden finale that's likely to irk viewers .
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the trappings of i spy are so familiar you might as well be watching a rerun .
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what starts off as a potentially incredibly twisting mystery becomes simply a monster chase film .
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in the wake of saving private ryan , black hawk down and we were soldiers , you are likely to be as heartily sick of mayhem as cage's war-weary marine .
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it is messy , uncouth , incomprehensible , vicious and absurd .
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really does feel like a short stretched out to feature length .
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hampered -- no , paralyzed -- by a self-indulgent script . . . that aims for poetry and ends up sounding like satire .
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