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without september 11 , collateral damage would have been just another bad movie . now it's a bad , embarrassing movie .
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drags along in a dazed and enervated , drenched-in-the- past numbness .
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there's a disturbing 'great white hope' undertone to the other side of heaven that subtly undermines its message of christian love and compassion .
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unless you are in dire need of a diesel fix , there is no real reason to see it . wait for video -- and then don't rent it .
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the attempt is courageous , even if the result is wildly uneven .
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there's something fundamental missing from this story : something or someone to care about .
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too much of this well-acted but dangerously slow thriller feels like a preamble to a bigger , more complicated story , one that never materializes .
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when a film is created solely because it's a marketable product , soulless and ugly movies like this are the result . let your silly childhood nostalgia slumber unmolested .
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unfortunately , heartbreak hospital wants to convey the same kind of haughtiness in its own sketchy material but this territory has already been explored previously with better aplomb and sardonic wit .
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the more kevin costner rests on his pretty-boy laurels , the public is , regrettably , going to have tepid films like dragonfly tossed at them .
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[it's] difficult to get beyond the overall blandness of american chai , despite its likable performances and refreshingly naive point of view .
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the latest installment in the pokemon canon , pokemon 4ever is surprising less moldy and trite than the last two , likely because much of the japanese anime is set in a scenic forest where pokemon graze in peace .
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taken purely as an exercise in style , this oppressively gloomy techno-horror clambake is impossible to ignore . but as a movie , it's a humorless , disjointed mess .
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if myers decides to make another austin powers movie , maybe he should just stick with austin and dr evil .
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the backyard battles you staged with your green plastic army men were more exciting and almost certainly made more sense .
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too stupid to be satire , too obviously hateful to be classified otherwise , frank novak's irritating slice of lumpen life is as reliably soul-killing as its title is nearly meaningless .
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overly stylized with lots of flash black-&-white freeze frames reminiscent of a pseudo-hip luxury car commercial , ( it's ) at its worst when it's actually inside the ring .
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what is captured during the conceptual process doesn't add up to a sufficient explanation of what the final dance work , the selection , became in its final form .
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if this is satire , it's the smug and self-congratulatory kind that lets the audience completely off the hook .
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had the film boasted a clearer , more memorable , the creepiness would have gotten under the skin .
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these people wouldn't know subtle characterization if it put on a giant furry monster costume and then gave them a lapdance .
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imagine if you will a tony hawk skating video interspliced with footage from behind enemy lines and set to jersey shore techno .
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it doesn't quite work , but there's enough here to make us look forward to the russos' next offering .
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any film featuring young children threatened by a terrorist bomb can no longer pass as mere entertainment .
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the director's twitchy sketchbook style and adroit perspective shifts grow wearisome amid leaden pacing and indifferent craftsmanship ( most notably wretched sound design ) .
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about as satisfying and predictable as the fare at your local drive through .
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apparently kissing leads to suicide attempts and tragic deaths . marisa tomei is good , but just a kiss is just a mess .
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opens at a funeral , ends on the protagonist's death bed and doesn't get much livelier in the three hours in between .
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the noble tradition of men in drag hits an all-time low in sorority boys , whose makers apparently believe that women's clothing can cover up any deficiency in acting , writing or direction .
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to portray modern women the way director davis has done is just unthinkable .
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too simple for its own good .
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flaccid drama and exasperatingly slow journey .
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a chaotic panorama that's too busy flying a lot of metaphoric flags .
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suffers from rambling , repetitive dialogue and the visual drabness endemic to digital video .
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the screenplay sabotages the movie's strengths at almost every juncture . all the characters are stereotypes , and their interaction is numbingly predictable .
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a trashy , exploitative , thoroughly unpleasant experience .
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newcomer helmer kevin donovan is hamstrung by a badly handled screenplay of what is really an amusing concept – a high-tech tux that transforms its wearer into a superman .
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shouldn'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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often silly – and gross – but it's rarely as moronic as some campus gross-out films .
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the advantage of a postapocalyptic setting is that it can be made on the cheap . any rock pile will do for a set . reign of fire has the disadvantage of also looking cheap .
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it's exactly what you'd expect .
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the performances are so leaden , michael rymer's direction is so bloodless and the dialogue is so corny that the audience laughs out loud .
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a subtle variation on i spit on your grave in which our purported heroine pathologically avenges a hatred for men .
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reggio's trippy , ambitious downer can also sometimes come across like nothing more than a glorified nike ad .
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as tweedy talks about canning his stockbroker and repairing his pool , you yearn for a few airborne tv sets or nude groupies on the nod to liven things up .
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if somebody was bored and . . . decided to make a dull , pretentious version of jesus' son , they'd come up with something like bart freundlich's world traveler .
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the best you can say about it is it's so uninspired , it barely gives one pause when considering some of the other dreck out there right now .
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a tough go , but leigh's depth and rigor , and his skill at inspiring accomplished portrayals that are all the more impressive for their lack of showiness , offsets to a notable degree the film's often-mined and despairing milieu .
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an overstuffed compendium of teen-catholic-movie dogma .
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too leisurely paced and visually drab for its own good , it succeeds in being only sporadically amusing .
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ben affleck as jack ryan , tom clancy's intrepid hero ? ridiculous . what's next ? d . j . qualls as indiana jones ? or tom green as han solo ?
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eh .
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the movie's biggest offense is its complete and utter lack of tension .
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the film is directed by wally wolodarsky from a script by joe jarvis and greg coolidge . these are names to remember , in order to avoid them in the future .
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if this is the resurrection of the halloween franchise , it would have been better off dead .
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this formulaic chiller will do little to boost stallone's career .
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i saw knockaround guys yesterday , and already the details have faded like photographs from the spanish-american war . . . it's so unmemorable that it turned my ballpoint notes to invisible ink .
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though avary has done his best to make something out of ellis' nothing novel , in the end , his rules is barely worth following .
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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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no worse than a lot of the crap we've been offered this summer , and slightly better than men in black 2 as far as slapdash extraterrestrial comedies go .
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the plot is so predictable and sentimental that viewers are likely to lose interest before sandrine and her goats walk off into the sunset .
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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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never again swings between false sentiment and unfunny madcap comedy and , along the way , expects the audience to invest in the central relationship as some kind of marriage of true minds .
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the story itself is uninteresting , and the songs are painfully undistinguished : they might be giants' so to be one of us may be the most tuneless tune ever composed .
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este é apenas mais um ( longo ) episódio do programa da mtv . a única diferença é que , desta vez , a paramount teve o mau gosto de exibi-lo nos cinemas .
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technically , the film is about as interesting as an insurance commercial .
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the title's lameness should clue you in on how bad the movie is .
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the parts are better than the whole ( bizarre , funny , tragic - like love in new york ) .
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while the film shuns the glamour or glitz that an american movie might demand , scherfig tosses us a romantic scenario that is just as simplistic as a hollywood production .
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the humor is hinged on the belief that knees in the crotch , elbows in the face and spit in the eye are inherently funny .
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it's a movie forged in the fires of chick flick hell .
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its characters are thinner than cardboard -- or even comic-book paper .
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any one episode of the sopranos would send this ill-conceived folly to sleep with the fishes .
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feels like the grittiest movie that was ever made for the lifetime cable television network .
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lanie's professional success means she must be a failure at life , because she's driven by ambition and doesn't know how to have fun .
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credit must be given to harland williams , michael rosenbaum and barry watson , who inject far more good-natured spirit and talent into this project than it deserves
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denzel washington's efforts are sunk by all the sanctimony .
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if this holiday movie is supposed to be a gift , somebody unwrapped it early , took out all the good stuff , and left behind the crap ( literally ) .
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so faithful to the doldrums of the not-quite-urban , not-quite-suburban milieu as to have viewers recoiling from the reality check .
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rambles on in a disjointed , substandard fashion from one poorly executed action sequence to the next .
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there's an audience for it , but it could have been funnier and more innocent .
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i can only imagine one thing worse than kevin spacey trying on an irish accent , and that's sultry linda fiorentino doing the same thing .
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an awkward and indigestible movie .
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the movie has very little to offer besides unintentional laughs .
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haneke keeps us at arm's length . guided more by intellect than heart , his story flattens instead of sharpens .
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all the well-meaningness in the world can't erase the fact that the believer feels like a 12-step program for the jewish nazi .
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like most sequels , it takes what worked last time , repeats it and adds more characters , more stunts , more stuff in attempt to camouflage its sameness .
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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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message movie or an action-packed submarine spectacular ? alas , it's neither .
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no movement , no yuks , not much of anything .
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'dragonfly' is a movie about a bus wreck that turns into a film wreck .
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thirty years ago , it would have been groundbreaking . now it's just tired .
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heavy-handed exercise in time-vaulting literary pretension .
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the movie is too cute to take itself too seriously , but it still feels like it was made by some very stoned college students .
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a thinly veiled excuse for wilson to play his self-deprecating act against murphy's well-honed prima donna shtick .
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a minor picture with a major identity crisis -- it's sort of true and it's sort of bogus and it's ho-hum all the way through .
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the movie succumbs to being nothing more than a formulaic chase in the dark .
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plays as hollow catharsis , with lots of tears but very little in the way of insights .
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it will come as no surprise that the movie isn't scary . but here's the real damn : it isn't funny , either .
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quick : who wants to see a comedy about shoddy airport security ?
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