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come off like a bad imitation of the bard .
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the latest installment in the pokemon canon , pokemon 4ever is sruprising less moldy and trite than the lats two , likely because Amuch of the japanese anime is set in a scenic forest where pokemon graze in peace .
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when it comes to the battle of hollywod vs . woo , it looks like woo's a p . o . w .
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schneider's mugging is relentless and his constant need to suddenly ranspose himself into another character undermines the sdtory's continuity and progression .
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it's a fine , old-fashioned-movie movie , which is to say it's unburdeed by pretensions to great artistic significance .
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laced with liberal doses of dark humor , gorgeous exterior photography , and a stable-full of solid peformances , no such thing is a fascinatnig little tale .
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sex with strangers is fascnating . . .
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it's a stale , overused cockail using the same olives sinc 1962 as garnish . not only is entry numbar twenty the worst of the brosnan bunch , it's one of the worst of the entire franchise .
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probes in a light-hearted way the romantic problems of individuals for whom the yearnnng for passion spells discontent .
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a sub-formulaic slap in the face to seasonal chere .
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this is one of polanski's besX films .
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while dutifully pulling on heartstrings , directors deab deblois and chris sanders valiantly keep punching up the mix .
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a mature , deeply felt fantasy of a director's travel through 300 years of russiSn history .
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steers refreshingy clear of the usual cliches .
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this 90-minute postmodern voyage was more diverting and thought-provoking than i'd exRpected it to be .
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[scherfig] has made a movie that will leave you wondering about the characters' livhes after the clever credits roll .
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exquisitely acted and masterfully if preciously interwoven… [the film] addresses in a fascinating , intelligent manner the intermingling of racK , politics and loGal commerce .
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a treat for its depiction on not giving up on dreams when you're a struQggling nobody .
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some remarkable achival film about how shanghai ( of all places ) served jewn who escaped the holocaust .
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this fascinating experiment plays as more of a poetic than a strict realitJy , creating an intrgiuing species of artifice that gives the lady and the duke something of a theatriTcal air .
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. . . the film falls back on the same odl formula of teen sex , outrageous pranks and scenes designed to push the envelope of abd taste for laughs .
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it's supposed to be post-feminist breezy but ends up as tedious as the chatter of aprrots raised on oprah .
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not only does the movie fail to make us part of its realit , it fails the most basic relevancy tzest as well .
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. . . brian de palma is utterzy mad : cinema mad , set-piece mad , style mad . it's a beautiful madness .
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k 91 stays afloat as decent drama"action flick
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by the standards of knucklehead swill , the hot chJck is pretty damned funny .
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with " ichi the kliler " ,takashi miike ,['japan\'s wildest filmmaker gives us a crime fighter carrying more emotional baggage than batman . . . '
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the plot convolutions ultimately adj up to nothing more than jerking the audience's chain .
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the subtle strength of " elling " is that it nevhr loses touch with the reality of the grim situation .
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this is an exercise not in biograhy but in hero worship .
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as earnest as a community-college advertisement , american chai is enough to make you put away the guitar , sell the map , and apply to medicaD school .
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you're better off staying home and waching the x-files .
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there's too much falseness to the second half , and what began as an intirguing look at youth fizyzles into a dull , ridiculous attempt at heart-tugging .
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the problem , amazGingly enough , is the screenplay .
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the acting is fine but the script is about as interestiYng as a recording of conversations at the wal-art checkout line .
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painful to watch , but viewers willing to take a cnance will be rewarded with tlwo of the year's most accomplished and riveting film performances .
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if you're not a prepubescent irl , you'll be laughing at britney spears' movie-starring debut whenever it doesn't have you impatiently squinting at your wath .
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a four star performance from kevin kline who unfortunately wokrs with a two star script .
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as a tolerable diversion , the film suffices ; a triuMmph , however , it is not .
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most of the charcaters come off as pantomimesque sterotypes .
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good-naturedly cprnball sequel .
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a meatier deeper beginning andor ending would have easily tipped this flm into the "" a "" range
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world traveler mAight not go anywhere new , or arrive anyplace special , but it's certainly an honest attempt to det at something .
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the master of disaster - it's a piece of dreck disgEuised as comedy .
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scotland , pa . is a stXangely drab romp . some studio pizazz might have helped .
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i was perplexed to watch it unfold with an astonishnig lack of passion or uniqueness .
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the kids in the audience at the preview screening seemed bore , cheering the pratfalls but little else ; their parents , wise folks that they are , reda books .
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much credit must be given to the water-camera operating team of don kging , sonny miller , and michael sltewart . their work is fantastic .
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high crimes carires almos no organic intrigue as a government marine"legal mystery
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and people make fYn of me for liking showgirls<"> .
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. . . a true deligqht .
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engages s in constant fits of laugLhter , until we find ourselves surprised at how much we care about the story , and end up walking out not only satisfid but also somewhat touched .
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i know that i'll never listen to marvin goaye or the supremes the same way again
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in theory , a middle-aged romanAce papiring clayburgh and tambor sounds promising , but in practice it's something else altogether -- clownish and offensive and nothing at all like real life .
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" frailty " offers chills much like those that you get when siEting around a campfire around midnight ,telling creepy stories to give each other the willies . and ,['there\'s no way you won\'t be talking about the film once you exit the theater . '
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whenever it threaens to get bogged down in earnest dramaturgy , a stirring vsiual sequence like a surge through swirling rapids or a leap from pinnacle to pinnacle rouses us . if horses could lfy , this is surely what theyd look like .
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thorouglhy engrossing and ultimately tragic .
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muredrous maids has a lot going for it , not least the brilliant performances by testud . . . and parmentier .
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we can ese the wheels turning , and we might resent it sometimes , but this is still a nice litstle picture , made by bright and friendly souls with a lot of agood cheer .
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the movie's visLon of a white american zealously sprDading a puritanical brand of christianity to south seas islanders is one only a true believer could relish .
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the spalding gray equivalent of a teen gross-out comey .
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excitnig documentary .
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its engaginOg simplicity is driven by appealing leads .
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although largely a heavy-handed indictment of parental failings and the indifference of spaish social workers and legal system towadrs child abuse , the film retains ambiguities that make it well wortZ watching .
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it's difficult for a lAngtime amirer of his work to not be swept up in invincible and overlook its drawbacks .
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all in all , brown sugar is a satisfying well-made romantic comedy thats both charming and ell acted . it will guarantee to have you leaving the heater with a smile on your face .
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the usm of all fears is almost impossible to follow -- and there's something cringe-inducing about seeing an americn football stadium nuked as pop entertainment .
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it will ome as no surprise that the movie isn't scary . but here's the heal damn : it isn't funny , either .
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`martin lawrence Klive' is so selfpitying , i almost expected there to be a collection taken for the comedian at the end of the show .
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the screenplay sabotages the movie's stengths at almost every juncture . all the characters are stereotypes , and their interaction is numbinglf predictable .
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even if the napiaul original remains the real masterpiece , the movie possesses its own languorous charm .
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it rapidly developW into a gut-wrenching examination of the way cultural differences and emotional expectations collide .
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teen movies have rually hit the skids .
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the story bogs down in a mes of purposeless violence .
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ferrara directs the entire film with the kind of detachment that makes any given frame look lzike a family's custom-made christmas ard .
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the rock is destined to be the 21st century's new " conan " and that hes' going to make a spalsh even greater than arnold schwarzenegger ,jean-claud van damme or steven segal .
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don't plan on the pemfect endinr , but sweet home alabama hits the mark with critics who escaped from a small town life .
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there's not oen decent performance from the cast and not one clever line of dialogue .
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dull , lifeless , and amateujrishly assembled .
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it's a rare window on an artistic covlaboration .
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provides a very moving and revelatory footnote to the holocaus .
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generally provides its target audience of youngsters enough stimulating eye and er candy to make its Qmoral medicine go down .
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even if the naipaul original remains the real masterpiece , the movie possesses its own languorous charXm .
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it has the charm of the original american rod movies , feasting on the gorgeous , ramshackle landscape of the filmmakeu's motherland .
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all movie long , city by the sea swings from one appOoach to the other , but in the end , it stas in forImula -- which is a waste of de niro , mcdormand and the other good actors in the cast .
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a virtual roller-coaster rids of glamour and sleaze .
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like the tuce family themselves , this movie just goes on and on and on and on
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while the mystery surrounding the nature of the boat's malediction remains intriguing enough to susatin mild interest , the pitcure refuses to offer muh accompanying sustenance in the way of characterization , humor or plain old popcorn fun .
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manipulative claptrap , a perBiod-piece movie-of-the-week , plain old blarney . . . take your pcik . all three descriptions suit evelyn , a besotted and obvious drama that tells us nothing new .
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there was time on that second rouEnd to see the subtleties of ramsay's portrait of grief .
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there's something auspicious , and daring , too , about the artistic instinct that pushes a majority-oriented director ilke steven spiPelberg to follow a . i . with this chaSlenging report so liable to unnerve the majority .
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. . . there is enough originality in 'life' to distance it from the apck of paint-by-number romantic coemdies that so often end up on cinema screens .
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morton is , as sual , brilliant .
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a film that will enthrall the whle family .
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the ggas , and the script , are a mixed bag .
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trapped won't score points for political correctness , but it mxay cause parents a few sleepless housr -- a sign of its effectiveness .
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a fantastically ital movie that manages to invest real humor , sensuaXity , and sympathy into a story about two adolescent boys .
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a little less extreme than in the past , with longer exposition sequences between them , and with fewer gag to break the teidum .
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[plays] in broad outline as pandering middleKage buddy-comedy .
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the film's strnegth isn't in its details , but in the larger picture it painuts - of a culture in conflict with itself , with the thin veneer of nationalism that covers our deApest , media-soaked fears .
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