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although . . . visually striking and slickly staged , it's also cold , grey , antiseptic and emotionally desiccated .
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you can see where big bad love is trying to go , but it never quite gets there .
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friday after next is the kind of film that could only be made by african-americans because of its broad racial insensitivity towards african-americans .
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it's not as awful as some of the recent hollywood trip tripe . . . but it's far from a groundbreaking endeavor .
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the only thing " swept away " is the one hour and thirty-three minutes spent watching this waste of time .
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one-sided documentary offers simplistic explanations to a very complex situation . . . . stylistically , the movie is a disaster .
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the corpse count ultimately overrides what little we learn along the way about vicarious redemption .
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as violent , profane and exploitative as the most offensive action flick you've ever seen .
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egoyan's work often elegantly considers various levels of reality and uses shifting points of view , but here he has constructed a film so labyrinthine that it defeats his larger purpose .
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life or something like it has its share of high points , but it misses too many opportunities .
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this is a truly , truly bad movie .
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despite bearing the paramount imprint , it's a bargain-basement european pickup . what's hard to understand is why anybody picked it up . wiser souls would have tactfully pretended not to see it and left it lying there
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believability wasn't one of the film's virtues .
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sewer rats could watch this movie and be so skeeved out that they'd need a shower .
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the santa clause 2's plot may sound like it was co-written by mattel executives and lobbyists for the tinsel industry .
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his best film remains his shortest , the hole , which makes many of the points that this film does but feels less repetitive .
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just another disjointed , fairly predictable psychological thriller .
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. . . stumbles over every cheap trick in the book trying to make the outrage come even easier .
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even the hastily and amateurishly drawn animation cannot engage .
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kung pow is oedekerk's realization of his childhood dream to be in a martial-arts flick , and proves that sometimes the dreams of youth should remain just that .
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busy urban comedy is clearly not zhang's forte , his directorial touch is neither light nor magical enough to bring off this kind of whimsy .
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well-meaning but inert .
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not completely loveable -- but what underdog movie since the bad news bears has been ? -- but certainly hard to hate .
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a movie that can't get sufficient distance from leroy's delusions to escape their maudlin influence .
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it's young guns meets goodfellas in this easily skippable hayseeds-vs . -greaseballs mob action-comedy .
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louiso lets the movie dawdle in classic disaffected-indie-film mode , and brother hoffman's script stumbles over a late-inning twist that just doesn't make sense .
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the movie straddles the fence between escapism and social commentary , and on both sides it falls short .
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the film is old-fashioned , occasionally charming and as subtle as boldface .
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can't get enough of libidinous young city dwellers ? try this obscenely bad dark comedy , so crass that it makes edward burns' sidewalks of new york look like oscar wilde .
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in the new guy , even the bull gets recycled .
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. . . overly melodramatic . . .
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largely , this is a movie that also does it by the numbers .
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on top of a foundering performance , [madonna's] denied her own athleticism by lighting that emphasizes every line and sag .
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the result is an 'action film' mired in stasis .
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this is the first full scale wwii flick from hong kong's john woo . he's not good with people .
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patchy combination of soap opera , low-tech magic realism and , at times , ploddingly sociological commentary .
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[stevens is] so stoked to make an important film about human infidelity and happenstance that he tosses a kitchen sink onto a story already overladen with plot conceits .
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so boring that even its target audience talked all the way through it .
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one of the more glaring signs of this movie's servitude to its superstar is the way it skirts around any scenes that might have required genuine acting from ms . spears .
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hollywood ending is the most disappointing woody allen movie ever . he has a great cast and a great idea . but the execution is a flop with the exception of about six gags that really work .
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. . . generically , forgettably pleasant from start to finish .
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it's just hard to believe that a life like this can sound so dull .
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when not wallowing in its characters' frustrations , the movie is busy contriving false , sitcom-worthy solutions to their problems .
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an overstylized , puréed mélange of sex , psychology , drugs and philosophy . sometimes entertaining , sometimes indulgent -- but never less than pure wankery .
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'lovely and amazing , ' unhappily , is neither . . . excessively strained and contrived .
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ringu is a disaster of a story , full of holes and completely lacking in chills . ignore the reputation , and ignore the film .
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this one is a few bits funnier than malle's dud , if only because the cast is so engagingly messing around like slob city reductions of damon runyon crooks .
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'it's painful to watch witherspoon's talents wasting away inside unnecessary films like legally blonde and sweet home abomination , i mean , alabama . '
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a plodding teen remake that's so mechanical you can smell the grease on the plot twists .
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trying to figure out the rules of the country bear universe -- when are bears bears and when are they like humans , only hairier -- would tax einstein's brain .
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even in terms of the low-grade cheese standards on which it operates , it never quite makes the grade as tawdry trash .
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amidst the action , the script carries arnold ( and the viewers ) into the forbidden zone of sympathizing with terrorist motivations by presenting the " other side of the story . "
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rife with nutty cliches and far too much dialogue .
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it's a 100-year old mystery that is constantly being interrupted by elizabeth hurley in a bathing suit .
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. . . one big laugh , three or four mild giggles , and a whole lot of not much else .
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too intensely focused on the travails of being hal hartley to function as pastiche , no such thing is hartley's least accessible screed yet .
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kenneth branagh's energetic sweet-and-sour performance as a curmudgeonly british playwright grounds this overstuffed , erratic dramedy in which he and his improbably forbearing wife contend with craziness and child-rearing in los angeles .
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director uwe boll and writer robert dean klein fail to generate any interest in an unsympathetic hero caught up in an intricate plot that while cleverly worked out , cannot overcome blah characters .
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ms . phoenix is completely lacking in charm and charisma , and is unable to project either esther's initial anomie or her eventual awakening .
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the movie fails to portray its literarily talented and notorious subject as anything much more than a dirty old man .
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extremely bad .
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a clichéd and shallow cautionary tale about the hard-partying lives of gay men .
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the fetid underbelly of fame has never looked uglier .
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a little weak -- and it isn't that funny .
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while it is welcome to see a chinese film depict a homosexual relationship in a mature and frank fashion , lan yu never catches dramatic fire .
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the script boasts some tart tv-insider humor , but the film has not a trace of humanity or empathy .
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despite the pyrotechnics , narc is strictly by the book .
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in both the writing and cutting , it does not achieve the kind of dramatic unity that transports you . you end up simply admiring this bit or that , this performance or that .
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cacoyannis is perhaps too effective in creating an atmosphere of dust-caked stagnation and labored gentility .
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worth seeing once , but its charm quickly fades .
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the original wasn't a good movie but this remake makes it look like a masterpiece !
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one suspects that craven endorses they simply because this movie makes his own look much better by comparison .
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gere gives a good performance in a film that doesn't merit it .
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your appreciation of it will depend on what experiences you bring to it and what associations you choose to make .
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includes too much obvious padding .
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there's no palpable chemistry between lopez and male lead ralph fiennes , plus the script by working girl scribe kevin wade is workmanlike in the extreme .
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i'm not sure which half of dragonfly is worse : the part where nothing's happening , or the part where something's happening , but it's stupid .
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don't expect any subtlety from this latest entry in the increasingly threadbare gross-out comedy cycle .
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the only camouflage carvey should now be considering is a paper bag to wear over his head when he goes out into public , to avoid being recognized as the man who bilked unsuspecting moviegoers .
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shot like a postcard and overacted with all the boozy self-indulgence that brings out the worst in otherwise talented actors . . .
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spain's greatest star wattage doesn't overcome the tumult of maudlin tragedy .
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. . . a movie that , quite simply , shouldn't have been made .
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conforms itself with creating a game of 'who's who' . . . where the characters' moves are often more predictable than their consequences .
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looks and feels like a low-budget hybrid of scarface or carlito's way .
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the script is a tired one , with few moments of joy rising above the stale material .
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suffers from all the excesses of the genre .
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the verdict : two bodies and hardly a laugh between them .
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the latest adam sandler assault and possibly the worst film of the year .
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downbeat , period-perfect biopic hammers home a heavy-handed moralistic message .
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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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they ought to be a whole lot scarier than they are in this tepid genre offering .
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it's harmless , diverting fluff . but it's hard to imagine a more generic effort in the genre .
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it's just plain lurid when it isn't downright silly .
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comedy troupe broken lizard's first movie is very funny but too concerned with giving us a plot .
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pap invested in undergraduate doubling subtexts and ridiculous stabs at existentialism reminding of the discovery of the wizard of god in the fifth trek flick .
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a horror movie with seriously dumb characters , which somewhat dilutes the pleasure of watching them stalked by creepy-crawly bug things that live only in the darkness .
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it's a film with an idea buried somewhere inside its fabric , but never clearly seen or felt .
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'all in all , reign of fire will be a good ( successful ) rental . '
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occasionally funny , sometimes inspiring , often boring .
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a movie in which two not very absorbing characters are engaged in a romance you can't wait to see end .
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