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Astonishingly skillful and moving...it could become a historically significant work as well as a masterfully made one.
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feeling to it, but like the 1920's, the trip there is a great deal of fun.
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Unsurprisingly, the way this all works out makes the women look more like stereotypical caretakers and moral teachers, instead of serious athletes.
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Eight Legged Freaks is clever and funny, is amused by its special effects, and leaves you feeling like you've seen a movie instead of an endless trailer.
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The bottom line is the piece works brilliantly.
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Purposefully shocking in its eroticized gore, if unintentionally dull in its lack of poetic frissons.
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Tends to plod.
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Pleasant but not more than recycled jock piffle.
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Indeed, the more outrageous bits achieve a shock-you-into-laughter intensity of almost Dadaist proportions.
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The one-liners are snappy, the situations volatile and the comic opportunities richly rewarded.
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Stupid, infantile, redundant, sloppy, over-the-top, and amateurish.
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The film grows on you.
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Though its story is only surface deep, the visuals and enveloping sounds of Blue Crush make this surprisingly decent flick worth a summertime look-see.
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This Chicago has hugely imaginative and successful casting to its great credit, as well as one terrific score and attitude to spare.
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First-time writer-director Dylan Kidd also has a good ear for dialogue, and the characters sound like real people.
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A whale of a good time for both children and parents seeking Christian-themed fun.
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This odd, distant Portuguese import more or less borrows from Bad Lieutenant and Les Vampires, and comes up with a kind of art-house gay porn film.
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During The Tuxedo's 90 minutes of screen time, there isn't one true 'Chan moment'.
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It's mildly sentimental, unabashedly consumerist ... studiously inoffensive and completely disposable.
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Plays like the old disease-of-the-week small-screen melodramas.
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...pays tribute to heroes the way Julia Roberts hands out awards--with phony humility barely camouflaging grotesque narcissism.
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Features Fincher's characteristically startling visual style and an almost palpable sense of intensity.
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Before long, you're desperate for the evening to end.
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Watchable up until the point where the situations and the dialogue spin hopelessly out of control -- that is to say, when Carol Kane appears on the screen.
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"Red Dragon" never cuts corners.
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An ambitious movie that, like Shiner's organizing of the big fight, pulls off enough of its effects to make up for the ones that don't come off.
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Although shot with little style, Skins is heartfelt and achingly real.
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It looks good, but it is essentially empty.
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Young Everlyn Sampi, as the courageous Molly Craig, simply radiates star-power potential in this remarkable and memorable film.
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A knowing sense of humor and a lot of warmth ignite Son of the Bride.
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Sure, I hated myself in the morning.
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But ticket-buyers with great expectations will wind up as glum as Mr. De Niro.
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The film was produced by Jerry Bruckheimer and directed by Joel Schumacher, and reflects the worst of their shallow styles: wildly overproduced, inadequately motivated every step of the way and demographically targeted to please every one (and no one).
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It's a great performance and a reminder of Dickens' grandeur.
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Not at all clear what it's trying to say and even if it were – I doubt it would be all that interesting.
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A movie where story is almost an afterthought amidst a swirl of colors and inexplicable events.
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Real Women may have many agendas, but it also will win you over, in a big way.
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What I saw, I enjoyed.
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lazily and glumly settles into a most traditional, reserved kind of filmmaking.
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It appears as if even the filmmakers didn't know what kind of movie they were making.
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The Dangerous Lives of Altar Boys' take on adolescence feels painfully true.
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Spider-Man is about growing strange hairs, getting a more mature body, and finding it necessary to hide new secretions from the parental units.
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At its best, this is grand-scale moviemaking for a larger-than-life figure, an artist who has been awarded mythic status in contemporary culture.
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There are some movies that hit you from the first scene and you know it's going to be a trip.
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I'm not sure these words have ever been together in the same sentence: This erotic cannibal movie is boring.
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Maybe you'll be lucky, and there'll be a power outage during your screening so you can get your money back.
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With Spy Kids 2: The Island of Lost Dreams, however, Robert Rodriguez adorns his family-film plot with an elegance and maturity that even most contemporary adult movies are lacking.
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...unbearably lame.
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Certainly not a good movie, but it wasn't horrible either.
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Where the film falters is in its tone.
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This film biggest problem?
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This is a movie that is what it is: a pleasant distraction, a Friday night diversion, an excuse to eat popcorn.
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The gags are often a stitch.
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The complex, politically charged tapestry of contemporary Chinese life this exciting new filmmaker has brought to the screen is like nothing we Westerners have seen before.
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The sinister inspiration that fuelled DeVito's early work is confused in Death to Smoochy into something both ugly and mindless.
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(Shyamalan) continues to cut a swathe through mainstream Hollywood, while retaining an integrity and refusing to compromise his vision.
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As averse as I usually am to feel-good, follow-your-dream Hollywood fantasies, this one got to me.
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You'll know a star when you see one.
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Sorority Boys, which is as bad at it is cruel, takes every potential laugh and stiletto-stomps the life out of it.
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In between the icy stunts, the actors spout hilarious dialogue about following your dream and 'just letting the mountain tell you what to do.'
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This gorgeous epic is guaranteed to lift the spirits of the whole family.
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Horrible.
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Grating and tedious.
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At three hours and with very little story or character development, there is plenty of room for editing, and a much shorter cut surely would have resulted in a smoother, more focused narrative without sacrificing any of the cultural intrigue.
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Better effects, better acting and a hilarious Kenneth Branagh.
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It's too interested in jerking off in all its Byzantine incarnations to bother pleasuring its audience.
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None of this so-called satire has any sting to it, as if Woody is afraid of biting the hand that has finally, to some extent, warmed up to him.
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A keep-'em-guessing plot and an affectionate take on its screwed-up characters.
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A prison comedy that never really busts out of its comfy little cell.
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An elegant and sly deadpan comedy.
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Neither as scary-funny as Tremors nor demented-funny as Starship Troopers, the movie isn't tough to take as long as you've paid a matinee price.
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The delicious trimmings...arrive early and stay late, filling nearly every minute...with a lighthearted glow, some impudent snickers, and a glorious dose of humankind's liberating ability to triumph over a Scrooge or two.
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The movie is a dud.
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Unfolds in a low-key, organic way that encourages you to accept it as life and go with its flow.
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Doesn't do more than expand a TV show to movie length.
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One of the best movies of the year.
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By applying definition to both sides of the man, the picture realizes a fullness that does not negate the subject.
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The movie turns out to be (Assayas') homage to the Gallic 'tradition of quality,' in all its fusty squareness.
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Once the downward spiral comes to pass, Auto Focus bears out as your typical junkie opera...
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'Butterfingered' is the word for the big-fisted direction of Jez Butterworth, who manages to blast even the smallest sensitivities from the romance with his clamorous approach.
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Cal is an unpleasantly shallow and immature character with whom to spend 110 claustrophobic minutes.
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Berry's saucy, full-bodied performance gives this aging series a much needed kick, making "Die Another Day" one of the most entertaining Bonds in years
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Despite the film's bizarre developments, Hoffman keeps us riveted with every painful nuance, unexpected flashes of dark comedy and the character's gripping humanity.
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If you love reading and/or poetry, then by all means check it out.
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Driven by a fantastic dual performance from Ian Holm...the film is funny, insightfully human and a delightful lark for history buffs.
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Douglas McGrath's Nicholas Nickleby does Dickens as it should be done cinematically.
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Diane Lane's sophisticated performance can't rescue Adrian Lyne's Unfaithful from its sleazy moralizing.
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Simply put, "Far From Heaven" is a masterpiece.
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Shot in rich, shadowy black-and-white, Devils chronicles, with increasingly amused irony, the relationship between reluctant captors and befuddled captives.
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McGrath has deftly trimmed Dickens' wonderfully sprawling soap opera, the better to focus on the hero's odyssey from cowering poverty to courage and happiness.
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Anyone who suffers through this film deserves, at the very least, a big box of consolation candy.
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A worthwhile documentary, whether you're into rap or not, even if it may still leave you wanting more answers as the credits roll.
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The original wasn't a good movie but this remake makes it look like a masterpiece!
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It's a fun adventure movie for kids (of all ages) that like adventure.
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One sloughs one's way through the mire of this alleged psychological thriller in search of purpose or even a plot.
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Limps along on a squirm-inducing fish-out-of-water formula that goes nowhere and goes there very, very slowly.
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No amount of nostalgia for Carvey's glory days can disguise the fact that the new film is a lame kiddie flick and that Carvey's considerable talents are wasted in it.
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Consistently clever and suspenseful.
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This is an ungainly movie, ill-fitting, with its elbows sticking out where the knees should be.
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A real audience-pleaser that will strike a chord with anyone who's ever waited in a doctor's office, emergency room, hospital bed or insurance company office.
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Subsets and Splits
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