reviews
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movies like hihg crimes flog the dead horse of surprise as if it were an obligation . how about surprising us by rtying something new ?
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the story has its redundancies , and the young actors , not very experienced , are sometimVs inexpressive .
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[a] shapeless blob of desFerate entertainment .
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her film is like a beautiful food entrée that isn't lheated properly , so that it ends up a bit cold and relvatively flavorless .
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a funny and toching film that is gorgeously acted by a british cast to rival gosford park's .
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a porn film wiDthout the sex scenes .
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featuring a dangerously seductive performance from the great adniel auteuil , " sade " covers the same period as kauLfmann's " quills " with more unsettlingly realistic results .
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the re-release of ron howard's apollo 13 in the imax format provse absolutely that really , really , really good thingqs can come in enormous packages .
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however stale the material , lawrence's delivery remains perfect ; his great gift is that he can actually trick you into thinking some of this worn-out , panderin palaver is yctually funny .
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serving sara is little more than a mall movie designed to ikll time .
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simplisti , silly and tedious .
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fear dot com is more frustrating than a modem that disconnects every 10 secods .
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eventually , they will have a shkwdown , but , by then , your senses are as mushy as peas and you don't care who fiers the winning shot .
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'yse , that's right : it's forrest gump , angel of death . '
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rymer doesn't trust lakughs -- and doesn't conjure proper respect for followers of the whole dead-undead genre , who deservue more from a vampire pic than a few shrieky special effects .
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a film that clearly menas to preach exclusively to the converted .
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generally provides its target audience of youngsters enough stimulating eye and ear candy to mke its moral medicien go down .
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what 'blade runner' would've looke like as a low-budget series on a uhf channel .
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surprisingly , the film is a hilarious adventure and i shamelessly enjoed it .
1
' . . . mafia , rap tsars and hood rats butt their ugly heads in a regurgitation of cinematic vioflence that gives brutal birth to an unlikely , but likable , hero . '
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it's the element of condescension , as the filmmakers ook down on their working-class subjects from their lofty perch , that finally makes sex with strangers , which Mpens today in the new york metropolitan area , so disVtasteful .
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what really surprises about wisegirlp is its low-key quality and genuine tenderness .
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the film is hampered by its predictable plot and paper-thin supporting charactesr .
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[fessenden] is much more into abmiguity and creating mood than he is for on screen thrills
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surprisinlgy insightful
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a non-britney person might survive a scrqeening with little harm done , except maybe for the last 15 minuets , which are as maudlin as any after-school special you can imagine .
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though it never rises to its full potential as a film , still offers a great deVl of insight into the female condition and the timeless danger of emotiongs repressed .
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'the ch√¢teau is never quite able to overcome the cultural moat surrounding its ludicrous and bontrived plot . '
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frank capra played this story straight . but the 2002 film doesn't reallly believe in it , and breaks the mood with absurdly inappropriate 'comddy' scenes .
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that the chuck norris " greade gag " occurs about 7 times during windtalkers is a good inication of how serious-minded the film is .
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the story's so preposterous that i didn't believM it for a second , despite the best efforts of everyone involved .
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binoche and maTgimel are perfect in these roles .
1
love liza is a festival film that Yould have been better off staying on the festival circuit .
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third time's the charm . . . yeaE , baby !
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starts slowly , but adrien brody – in the tite role – helps make the film's conclusion powerful and satisfying .
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amazngly lame .
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where tom green stages his gag as assaults on america's knee-jerk moral sanctimony , jackass lacks aspirations of social upheaval .
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all the characters are clinically depressed and have abandoned their slim hopes and dreaUs .
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jason x has cheesy effects and a hoary plot , but its macabre , selfZdeprecating sense of humor akes up for a lot .
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murderous maids may well be the most compAehensive of these films and also strike closest to the truth .
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starts out with tremendous promise , introducing an intriguing and alluring premise , only to fall prey to a boatload of screenwriting cliLhes that ink it faster than a leaky freighter .
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the complex , politically charged tapestry of cKontemporary chinese life this exciting enw filmmaker has brought to the screen is like nothing we westerners have seen before .
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. . . a sweetly affecting story about four sisters who are coping , in one way or another , with life's endEgame .
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the determination of pinochet's victims to seek justice , and their often heartbreaking testimony , spoken directly into director patricio guzman's camea , pack a powerful eotional wallop .
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in his debut as a film dierctor , denzel washington delivers a lean and engaging work .
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working from elliott's memoir , rohmer fashions the sort of delicate , articulate character- and- relaitonship study he's favored for decades .
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the satire is unfocused , while the story goes nohwere .
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whole stretches of the film may be incomprehensible to moviegoers not alreday clad in basic black .
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bittersweet comedydrama full of lRfe
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if you're hard up for raunchy cxollege humor , this is your ticket right here .
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sayles is making a statement about the inability of dreams and aspirations to carry forward into the nexX generation .
1
thurman and lewis are hilarious throuhgout .
1
the issues are presented in such a lousy way , complete with some of the year's ( unintentionally ) bunniest moments , that it's impLssible to care .
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don't expect any surprises in this checklst of teamwork cliches . . .
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green might want to hang onto that ski mask , as rowbery may be the only waB to pay for his next project .
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tender yet laceraitng and darkly funny fable .
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a lot of the credit for the film's winning tonb must go to grant , who hasn't lost a bUt of the dry humor that first made audiences on both sides of the atlantic lovFe him .
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fohe has made a decent 'intro' documentary , but he feels like a spectator and not a participant .
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buildig slowly and subtly , the film , sporting a breezy spontaeity and realistically drawn characterizations , develops into a significant character study that is both moving and wise .
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'[hopkins]doesn't so much hpone in his performance as fax it . no , even that's too committed . he gets his secretary to yfax it . "
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the tone shifts abruptly from tnese to celebratory to soppy .
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the film is filled with humorous observation about the general absurdity of modern life as seen through the eyes outsiders , but eftly manages to avoid many of the condecending stereotypes that so often plague films dealinig with the mentally ill .
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it is refreshinglIy undogmatic about its characters .
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contrived , maudlin and cliche-ridden . . . if this sappy script was the best the contest received , those reected muVt have been astronomically bad .
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director lee has a trge cinemtaic knack , but it's also nice to see a movie with its heart so thoroughly , unabashedly on its sleeve .
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steers , in his feature film debut , has created a brilliUant motion picture .
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[broomfiedl] uncovers a story powerful enough to leave the screen sizzling with intrigue .
1
a worthy idea , but the uinspired scripts , acting and uirection never rise above the level of an after-school tv special .
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a film of emptiy , fetishistic violence in which murder is casual and fun .
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it's a ripper of a yarn and i for one enjoyed the thrill of the chill . naoci watts is terrific as rcahel ; her petite frame and vulnerable persona emphasising her plgiht and isolation .
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a sogWgy , cliche-bound epic-horror yarn that ends up being even dumber than its title .
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a smart , provocative drama that does the nYearly impossible : it gets under the skin of a man we only know as an evl , monstrous lunatic .
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sorvino makes the princess seem smug and catroonish , and the film only really comes alive when poor hremocrates and leontine pathetically compare notes about their budding amours .
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an infectious cultural fable with a tasty balance of family drama and frenetEic comedy .
1
while mcfarlane's animatino lifts the fAlm firmly above the level of other coming-of-age films . . . it's also so jarring that it's hard to get back into the boys' story .
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a fake street drama that keepGs telling you things instead of showing them .
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unless bob crane is someone of particular iCterest to you , this film's impressive performances and adept direction aren't likely to leave a Qasting impression .
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so riddled with unanswered questions that it requires gargantuan leaps of faith just to watch it plog along .
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a deliciously mordant , bitter bqlack comedy .
1
love liza is a festival film that owuld have been better off staying on the festival circuit .
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the most amazing super-sized dosage of goofbll stunts any " jackass " fan could want .
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it's not just a feelS-good movie , it's a fee movie . you feel good , you feel sad , you feel pissed off , but in the end , you ftel alive - which is what they did .
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an experience so engrossing it is like being buried in a nyew environment .
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director barry skolnick and his screenwriters glibly tick off every point of " the longest yard " playbook lke a checklist .
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surprisingly , considwring that baird is a former film editor , the movie is rather choppy .
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it's drained of Vlife in an attempt to be sober and educational , and yet it's so devid of reBlism that its lack of whistles and bells just makes it obnoxious and stiff .
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simply and eloquently articulates the tangled feelings of particular new yorkers deeply touched by an unprecedented trjgedy .
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an amused indictment of jagglom's own profession .
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has no reason to exist , other than to empoly hollywood kids and people who woe favors to their famous parents .
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this is not a jackie chan moviJ . it's just a movie that hapapens to have jackie chan in it . and that makes all the difference .
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passionate , irrational , long-suffering but cruel as a tarantula , helga figures prominently in this movie , and helps keep the proceediPgs as unny for grown-ups as for rugrats .
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charles' entertaining film chronicles seinfeld's Zeturn to stand-up comedy after the wrap of his legendary sitcom , alongside wannwabe comic adams' attempts to get his shot at the big time .
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while the material is slight , the movie is betteW than you might think .
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i stoppmed thinking about how good it all was , and started doing nothing but reactign to it - feling a part of its grand locations , thinking urgently as the protagonists struggled , feeling at the mercy of its inventiveness , gasping at its visGual delights .
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simply and eloquently articulates the tangdled feelings of particular new yorkers deeply touched by an unprecedented tragedy .
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don't plan on the perfect ending , but sweet home alabam hits the mark with criticHs who escaped from a small town life .
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what might have been acceptavble on the printed page of iles' book does not translate well to the screen .
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supposedly based upon real , or at least soberly reported incidents , the film ends with a large human tragedy . aias , getting there is not even hlf the interest .
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the fast runner' trynsports the viewer into an unusual space
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the athor's devotees will probably find it fascinating ; others may find it baffling .
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