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On its own, Big Trouble could be considered a funny little film.
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(Reynolds) takes a classic story, casts attractive and talented actors and uses a magnificent landscape to create a feature film that is wickedly fun to watch.
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If you're content with a clever pseudo-bio that manages to have a good time as it doles out pieces of the famous director's life, Eisenstein delivers.
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This is the kind of subject matter that could so easily have been fumbled by a lesser filmmaker, but Ayres makes the right choices at every turn.
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Probes in a light-hearted way the romantic problems of individuals for whom the yearning for passion spells discontent.
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It made me realize that we really haven't had a good cheesy B-movie playing in theaters since... well... since last week's Reign of Fire.
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Ultimately this is a frustrating patchwork: an uneasy marriage of Louis Begley's source novel (About Schmidt) and an old Payne screenplay.
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...once the true impact of the day unfolds, the power of this movie is undeniable.
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This time, the hype is quieter, and while the movie is slightly less successful than the first, it's still a rollicking good time for the most part.
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Nothing more than a stifling morality tale dressed up in peekaboo clothing.
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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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Every joke is repeated at least four times.
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The gags, and the script, are a mixed bag.
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And adults will at least have a dream image of the West to savor whenever the film's lamer instincts are in the saddle.
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The best film of the year 2002.
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Blisteringly rude, scarily funny, sorrowfully sympathetic to the damage it surveys, the film has in Kieran Culkin a pitch-perfect Holden.
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The first shocking thing about Sorority Boys is that it's actually watchable.
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A movie I loved on first sight and, even more important, love in remembrance.
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An overstylized, puréed mélange of sex, psychology, drugs and philosophy.
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This is a movie full of grace and, ultimately, hope.
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A documentary to make the stones weep -- as shameful as it is scary.
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Most haunting about "Fence" is its conclusion, when we hear the ultimate fate of these girls and realize, much to our dismay, that this really did happen.
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Starts out ballsy and stylish but fails to keep it up and settles into clichés.
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The film feels formulaic, its plot and pacing typical Hollywood war-movie stuff, while the performances elicit more of a sense of deja vu than awe.
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(I)t's certainly laudable that the movie deals with hot-button issues in a comedic context, but Barbershop isn't as funny as it should be.
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But the second half of the movie really goes downhill.
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A well paced and satisfying little drama that deserved better than a 'direct-to-video' release.
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This misty-eyed Southern nostalgia piece, in treading the line between sappy and sanguine, winds up mired in tear-drenched quicksand.
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The only fun part of the movie is playing the obvious game.
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An inconsequential, barely there bit of piffle.
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Although fairly involving as far as it goes, the film doesn't end up having much that is fresh to say about growing up Catholic or, really, anything.
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An engrossing story that combines psychological drama, sociological reflection, and high-octane thriller.
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A gripping drama.
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It picked me up, swung me around, and dropped me back in my seat with more emotional force than any other recent film.
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The pleasures that it does afford may be enough to keep many moviegoers occupied amidst some of the more serious-minded concerns of other year-end movies.
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Its inescapable absurdities are tantamount to insulting the intelligence of anyone who hasn't been living under a rock (since Sept. 11).
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A pretty decent kid-pleasing, tolerable-to-adults lark of a movie.
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As I settled into my World War II memories, I found myself strangely moved by even the corniest and most hackneyed contrivances.
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The movie generates plot points with a degree of randomness usually achieved only by lottery drawing.
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classic cinema served up with heart and humor
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There may have been a good film in "Trouble Every Day," but it is not what is on the screen.
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The result is an 'action film' mired in stasis.
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That's because relatively nothing happens.
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An authentically vague, but ultimately purposeless, study in total pandemonium.
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But they don't fit well together and neither is well told.
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Like most movies about the pitfalls of bad behavior ... Circuit gets drawn into the party.
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With Dirty Deeds, David Caesar has stepped into the mainstream of filmmaking with an assurance worthy of international acclaim and with every cinematic tool well under his control -- driven by a natural sense for what works on screen.
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Oddly, the film isn't nearly as downbeat as it sounds, but strikes a tone that's alternately melancholic, hopeful and strangely funny.
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I've never seen or heard anything quite like this film, and I recommend it for its originality alone.
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When the movie mixes the cornpone and the Cosa Nostra, it finds a nice rhythm.
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... there's a choppy, surface-effect feeling to the whole enterprise.
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It's funny, touching, dramatically forceful, and beautifully shot.
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A good documentary can make interesting a subject you thought would leave you cold.
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This is a children's film in the truest sense.
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A very funny romantic comedy about two skittish New York middle-agers who stumble into a relationship and then struggle furiously with their fears and foibles.
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The movie does such an excellent job of critiquing itself at every faltering half-step of its development that criticizing feels more like commiserating.
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A solid, spooky entertainment worthy of the price of a ticket.
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There aren't many conclusive answers in the film, but there is an interesting story of pointed personalities, courage, tragedy and the little guys vs. the big guys.
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Plays like a series of vignettes -- clips of a film that are still looking for a common through-line.
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A film that begins with the everyday lives of naval personnel in San Diego and ends with scenes so true and heartbreaking that tears welled up in my eyes both times I saw the film.
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Leigh is one of the rare directors who feels acting is the heart and soul of cinema.
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Sitting in the third row of the IMAX cinema at Sydney's Darling Harbour, but I sometimes felt as though I was in the tiny two seater plane that carried the giant camera around Australia, sweeping and gliding, banking and hovering over some of the most not
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It's more enjoyable than I expected, though, and that's because the laughs come from fairly basic comedic constructs.
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It's crafty, energetic and smart -- the kid is sort of like a fourteen-year old Ferris Bueller.
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The film doesn't have enough innovation or pizazz to attract teenagers, and it lacks the novel charm that made Spy Kids a surprising winner with both adults and younger audiences.
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She boxes these women's souls right open for us.
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All the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling.
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This is DiCaprio's best performance in anything ever, and easily the most watchable film of the year.
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Though Impostor deviously adopts the guise of a modern motion picture, it too is a bomb.
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Jolie gives it that extra little something that makes it worth checking out at theaters, especially if you're in the mood for something more comfortable than challenging.
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One key problem with these ardently Christian storylines is that there is never any question of how things will turn out.
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Other than the slightly flawed (and fairly unbelievable) finale, everything else is top shelf.
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A summer entertainment adults can see without feeling embarrassed, but it could have been more.
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"Bad" is the operative word for "Bad Company," and I don't mean that in a good way.
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Seriously, rent the Disney version.
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The immersive powers of the giant screen and its hyper-realistic images are put to perfect use in the breathtakingly beautiful outer-space documentary Space Station 3D.
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It's difficult to imagine that a more confused, less interesting and more sloppily made film could possibly come down the road in 2002.
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As they used to say in the 1950s sci-fi movies, Signs is a tribute to Shyamalan's gifts, which are such that we'll keep watching the skies for his next project.
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The only pain you'll feel as the credits roll is your stomach grumbling for some tasty grub.
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In visual fertility Treasure Planet rivals the top Japanese animations of recent vintage.
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If you go, pack your knitting needles.
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Call me a cold-hearted curmudgeon for not being able to enjoy a mindless action movie, but I believe a movie can be mindless without being the peak of all things insipid.
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Assured, vital and well wrought, the film is, arguably, the most accomplished work to date from Hong Kong's versatile Stanley Kwan.
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Notwithstanding my problem with the movie's final half hour, I'm going to recommend SECRETARY, based on the wonderful acting clinic put on by Spader and Gyllenhaal, and also the unique way Shainberg goes about telling what at heart is a sweet little girl-
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The big ending surprise almost saves the movie.
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An ill-conceived jumble that's not scary, not smart and not engaging.
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What we get in FearDotCom is more like something from a bad Clive Barker movie.
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Too much of the movie feels contrived, as if the filmmakers were worried the story wouldn't work without all those gimmicks.
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Austin Powers in Goldmember is a cinematic car wreck, a catastrophic collision of tastelessness and gall that nevertheless will leave fans clamoring for another ride.
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Nair's cast is so large it's Altman-esque, but she deftly spins the multiple stories in a vibrant and intoxicating fashion.
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(T)oo many of these gross out scenes...
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an original and highly cerebral examination of the psychopathic mind
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When it comes out on video, then it's the perfect cure for insomnia.
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Killing time, that's all that's going on here.
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It's an experience in understanding a unique culture that is presented with universal appeal.
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If you like peace, you'll like Promises.
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The dialogue is very choppy and monosyllabic despite the fact that it is being dubbed.
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A perfectly pleasant if slightly pokey comedy.
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The performances are uniformly good.
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It wouldn't matter so much that this arrogant Richard Pryor wannabe's routine is offensive, puerile and unimaginatively foul-mouthed if it was at least funny.