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The movie is a trove of delights.
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The filmmakers needed more emphasis on the storytelling and less on the glamorous machine that thrusts the audience into a future they won't much care about.
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But it does somehow manage to get you under its spell.
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In his U.S. debut, Mr. Schnitzler proves himself a deft pace master and stylist.
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Yet another Arnold vehicle that fails to make adequate use of his particular talents.
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It will guarantee to have you leaving the theater with a smile on your face.
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An uncomfortable movie, suffocating and sometimes almost senseless, The Grey Zone does have a center, though a morbid one.
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Sweet gentle Jesus, did the screenwriters just do a cut-and-paste of every bad action-movie line in history?
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(Sam's) self-flagellation is more depressing than entertaining.
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Dramas like this make it human.
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Although Estela Bravo's documentary is cloyingly hagiographic in its portrait of Cuban leader Fidel Castro, it's still a guilty pleasure to watch.
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But the cinematography is cloudy, the picture making becalmed.
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This is Christmas Future for a lot of baby boomers.
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This bracingly truthful antidote to Hollywood teenage movies that slather Clearasil over the blemishes of youth captures the combustible mixture of a chafing inner loneliness and desperate grandiosity that tend to characterize puberty.
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Viva le Resistance!
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Some Body smacks of exhibitionism more than it does cathartic truth telling.
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Plodding, peevish and gimmicky.
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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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The ingenuity that Parker displays in freshening the play is almost in a class with that of Wilde himself.
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Nijinsky says, 'I know how to suffer' and if you see this film you'll know too.
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Frequent flurries of creative belly laughs and genuinely enthusiastic performances...keep the movie slaloming through its hackneyed elements with enjoyable ease.
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It will make you think twice about what might be going on inside each trailer park you drive past -- even if it chiefly inspires you to drive a little faster.
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Witless and utterly pointless.
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Fred Schepisi's film is paced at a speed that is slow to those of us in middle age and deathly slow to any teen.
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May lack the pungent bite of its title, but it's an enjoyable trifle nonetheless.
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A rather brilliant little cult item: a pastiche of children's entertainment, superhero comics, and Japanese animation.
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The film is a fierce dance of destruction.
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The mark of a respectable summer blockbuster is one of two things: unadulterated thrills or genuine laughs.
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It's hard to care about a film that proposes as epic tragedy the plight of a callow rich boy who is forced to choose between his beautiful, self-satisfied 22-year-old girlfriend and an equally beautiful, self-satisfied 18-year-old mistress.
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Psychologically revealing.
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If a big musical number like 'Praise the Lord, He's the God of Second Chances' doesn't put you off, this will be an enjoyable choice for younger kids.
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But seriously, folks, it doesn't work.
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I was trying to decide what annoyed me most about God is Great... I'm Not, and then I realized that I just didn't care.
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And there's an element of heartbreak to watching it now, with older and wiser eyes, because we know what will happen after Greene's story ends.
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Bluto Blutarsky, we miss you.
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Crossroads feels like a teenybopper Ed Wood film, replete with the pubescent scandalous innuendo and the high-strung but flaccid drama.
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Don't say you weren't warned.
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Hopkins, squarely fills the screen.
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Hashiguchi vividly captures the way young Japanese live now, chafing against their culture's manic mix of millennial brusqueness and undying, traditional politesse.
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You leave the same way you came -- a few tasty morsels under your belt, but no new friends.
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While it can be a bit repetitive, overall it's an entertaining and informative documentary.
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What makes the film special is the refreshingly unhibited enthusiasm that the people, in spite of clearly evident poverty and hardship, bring to their music.
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This may be Burns's strongest film since The Brothers McMullen.
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Warm in its loving yet unforgivingly inconsistent depiction of everyday people, relaxed in its perfect quiet pace and proud in its message.
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Its director's most substantial feature for some time.
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A chilly, remote, emotionally distant piece...so dull that its tagline should be: 'In space, no one can hear you snore.'
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Leave it to John Sayles to take on developers, the Chamber of Commerce, tourism, historical pageants, and commercialism all in the same movie ... without neglecting character development for even one minute.
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"Extreme Ops" exceeds expectations.
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It's stylishly directed with verve...
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Fans of critics' darling band Wilco will marvel at the sometimes murky, always brooding look of I Am Trying to Break Your Heart.
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Its adult themes of familial separation and societal betrayal are head and shoulders above much of the director's previous popcorn work.
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Chen films the resolutely downbeat Smokers Only with every indulgent, indie trick in the book.
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The weird thing about The Santa Clause 2, purportedly a children's movie, is that there is nothing in it to engage children emotionally.
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What (Frei) gives us ... is a man who uses the damage of war -- far more often than the warfare itself -- to create the kind of art shots that fill gallery shows.
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(Hell is) looking down at your watch and realizing Serving Sara isn't even halfway through.
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Me no lika da accents so good, but I thoroughly enjoyed the love story.
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Director Lee has a true cinematic knack, but it's also nice to see a movie with its heart so thoroughly, unabashedly on its sleeve.
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In other words, it's just another sports drama/character study.
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There's nothing interesting in Unfaithful whatsoever.
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Compassionately explores the seemingly irreconcilable situation between conservative Christian parents and their estranged gay and lesbian children.
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Worthy of the gong.
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A pointed, often tender, examination of the pros and cons of unconditional love and familial duties.
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More dutiful than enchanting...terribly episodic and lacking the spark of imagination that might have made it an exhilarating treat.
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The fourth "Pokemon" is a diverting--if predictable--adventure suitable for a matinee, with a message that cautions children about disturbing the world's delicate ecological balance.
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The film is so packed with subplots involving the various Silbersteins that it feels more like the pilot episode of a TV series than a feature film.
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It's both sitcomishly predictable and cloying in its attempts to be poignant.
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The charming result is Festival in Cannes.
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While the film is not entirely successful, it still manages to string together enough charming moments to work.
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It is parochial, accessible to a chosen few, standoffish to everyone else, and smugly suggests a superior moral tone is more important than filmmaking skill
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This breezy caper movie becomes a soulful, incisive meditation on the way we were, and the way we are.
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She allows each character to confront their problems openly and honestly.
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The film's maudlin focus on the young woman's infirmity and her naive dreams play like the worst kind of Hollywood heart-string plucking.
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Plus, like I already mentioned...it's Robert Duvall!
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Cinematic poetry showcases the city's old-world charm before machines change nearly everything.
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A sensitive, cultivated treatment of Greene's work as well as a remarkably faithful one.
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The Ring never lets you off the hook.
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Lan Yu seems altogether too slight to be called any kind of masterpiece.
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Fails in making this character understandable, in getting under her skin, in exploring motivation...Well before the end, the film grows as dull as its characters, about whose fate it is hard to care.
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Uplifting, funny and wise.
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The film has a laundry list of minor shortcomings, but the numerous scenes of gory mayhem are worth the price of admission...if "gory mayhem" is your idea of a good time.
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Cold, pretentious, thoroughly dislikable study in sociopathy.
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I stopped thinking about how good it all was, and started doing nothing but reacting to it - feeling a part of its grand locations, thinking urgently as the protagonists struggled, feeling at the mercy of its inventiveness, gasping at its visual delights.
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The beauty of the piece is that it counts heart as important as humor.
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A peculiar misfire that even Tunney can't save.
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Fast-paced and wonderfully edited, the film is extremely thorough.
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In painting an unabashedly romantic picture of a nation whose songs spring directly from the lives of the people, the movie exalts the Marxian dream of honest working folk, with little to show for their labor, living harmoniously, joined in song.
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Witless, pointless, tasteless and idiotic.
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A surprisingly 'solid' achievement by director Malcolm D. Lee and writer John Ridley.
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The problem is that it is one that allows him to churn out one mediocre movie after another.
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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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With a tighter editorial process and firmer direction this material could work, especially since the actresses in the lead roles are all more than competent, but as is, Personal Velocity seems to be idling in neutral.
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More timely than its director could ever have dreamed, this quietly lyrical tale probes the ambiguous welcome extended by Iran to the Afghani refugees who streamed across its borders, desperate for work and food.
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Brings to a spectacular completion one of the most complex, generous and subversive artworks of the last decade.
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A time machine, a journey back to your childhood, when cares melted away in the dark theater, and films had the ability to mesmerize, astonish and entertain.
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It goes down easy, leaving virtually no aftertaste.
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Knockaround Guys plays like a student film by two guys who desperately want to be Quentin Tarantino when they grow up.
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A wildly erratic drama with sequences that make you wince in embarrassment and others, thanks to the actors, that are quite touching.
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Offers absolutely nothing I hadn't already seen.
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The movie is a lumbering load of hokum but ... it's at least watchable.
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Serving Sara is little more than a mall movie designed to kill time.