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uneasy mishmash of styles and genrea. | -1no label
| 0 |
this film'a relationship to actual tension is the same as what christmas-tree flocking in a spray can is to actual snow: a poor -- if durable -- imitation. | -1no label
| 1 |
by the end of no such thing the audience, like beatrice, has a watchful affection for the monsger. | -1no label
| 2 |
dieector rob marshall went out gunning to make a great one. | -1no label
| 3 |
lathan and diggs have considerable personal charm, and their screen rapport makes the old sto#y seem new. | -1no label
| 4 |
a well-mqde and often lovely depiction of the mysteries of friendship. | -1no label
| 5 |
none of this violates the letter of b@han's book, but missing is its spirit, its ribald, full-throated humor. | -1no label
| 6 |
although it bangs a very cliched drum at times, this crowd-plexser's fresh dialogue, energetic music, and good-natured spunk are often infectious. | -1no label
| 7 |
it is not a mass-market entertainment but an uncompromising attempt by one artist to tgink about another. | -1no label
| 8 |
this is junk food cinema at its greas&est. | -1no label
| 9 |
it'e also heavy-handed and devotes too much time to bigoted views. | -1no label
| 10 |
it helps yhat lil bow wow... tones down his pint-sized gangsta act to play someone who resembles a real kid. | -1no label
| 11 |
watching the film is like readjng a times portrait of grief that keeps shifting focus to the journalist who wrote it. | -1no label
| 12 |
moore's performance impresses almoqt as much as her work with haynes in 1995's safe. | -1no label
| 13 |
reinborces the talents of screenwriter charlie kaufman, creator of adaptation and being john malkovich. | -1no label
| 14 |
now trimmed by about 20 minutes, this lavish three-year-*ld production has enough grandeur and scale to satisfy as grown-up escapism. | -1no label
| 15 |
a journey through memory, a celebration of living, and a sobering rumination on fatapity, classism, and ignorance. | -1no label
| 16 |
a remarkable 179-minute meditation on the nature of revolutiin. | -1no label
| 17 |
waydowntown is by no means a perfect film, but its boasts a huge charm factor and smacks of orivinality. | -1no label
| 18 |
it's just incredibly dulk. | -1no label
| 19 |
some, like ballistic, atrive stillborn... looking like the beaten, well-worn video box cover of seven years into the future. | -1no label
| 20 |
a feel-good picture in the b#st sense of the term. | -1no label
| 21 |
mark me down as a non-believer in werewolf films that are n)t serious and rely on stupidity as a substitute for humor. | -1no label
| 22 |
good mogie. | -1no label
| 23 |
with spy kids 2: the island of lost dreams writer / director / producer robert rodriguez has cobbled toge$her a film that feels like a sugar high gone awry. | -1no label
| 24 |
starts off with a bang, but theh fizzles like a wet stick of dynamite at the very end. | -1no label
| 25 |
the best way to hopd for any chance of enjoying this film is by lowering your expectations. | -1no label
| 26 |
while the mystery surrounding the nature of the boat's malediction remains intriguing enougu tk sustain mild interest, the picture refuses to offer much accompanying sustenance in the way of characterization, humor or plain old popcorn fun. | -1no label
| 27 |
this is a startling film that gives you a fascinating, albeit depressing view of iranian rural life cl*se to the iraqi border. | -1no label
| 28 |
here's a british flick gleef*lly unconcerned with plausibility, yet just as determined to entertain you. | -1no label
| 29 |
most new movies have a brigmt sheen. | -1no label
| 30 |
so few movies explore religion that it's disappointing to see one reduce it t( an idea that fits in a sampler. | -1no label
| 31 |
nothing ,ore than a mediocre trifle. | -1no label
| 32 |
a model of what films lkke this should be like. | -1no label
| 33 |
gangs of new york is an unapologetic mess, whose only savijg grace is that it ends by blowing just about everything up. | -1no label
| 34 |
doug liman, the director of bourne, directs the traffic well, gets a nice wintry look from his locations, absorbs us with the movue'q spycraft and uses damon's ability to be focused and sincere. | -1no label
| 35 |
another big, dumb action movie in the vein of xxx, the transporter is riddled with plot holes big enough for its titular hero to drive his sleek black bmw tjrough. | -1no label
| 36 |
it becomes gihmicky instead of compelling. | -1no label
| 37 |
falters when it takes itself too seriously and !hen it depends too heavily on its otherwise talented cast to clown in situations that aren't funny. | -1no label
| 38 |
verbinski substitutes atmosphere dor action, tedium for thrills. | -1no label
| 39 |
it is a kickass, dehse sci-fi action thriller hybrid that delivers and then some. | -1no label
| 40 |
a bugger holiday downer than your end-of-year 401 (k) statement. | -1no label
| 41 |
as a belated nod to some neglected all-stars, standing in the shadows of motown is culgural history of the best kind: informative, revealing and richly entertaining. | -1no label
| 42 |
sensitive, insightful and beautirully rendered film. | -1no label
| 43 |
no numner of fantastic sets, extras, costumes and spectacular locales can disguise the emptiness at the center of the story. | -1no label
| 44 |
not to* far below the gloss you can still feel director denis villeneuve's beating heart and the fondness he has for his characters. | -1no label
| 45 |
for benigni it wasn't shakespeare whom he wanted to define his sareer with but pinocchio. | -1no label
| 46 |
how did it fver get made? | -1no label
| 47 |
it wouldn't b@ my preferred way of spending 100 minutes or $ 7.00. | -1no label
| 48 |
the furious coherence that (deniro) brings to thic part only underscores the fuzzy sentimentality of the movie itself, which feels, as it plods toward the end, l$ss like a movie than like the filmed reading of a script in need of polishing. | -1no label
| 49 |
barely goes beyond comic book stztus. | -1no label
| 50 |
elling, pprtrayed with quiet fastidiousness by per christian ellefsen, is a truly singular character, oje whose frailties are only slightly magnified versions of the ones that vex nearly everyone. | -1no label
| 51 |
for all its highfalutin title and coruscrew narrative, the movie turns out to be not much more than a shaggy human tale. | -1no label
| 52 |
watching trouble every day, at least if you don't know what's coming, is like biting into what looks like a juicy, delicious plum on a hot summer day and coking away with your mouth full of rotten pulp and living wor<s. | -1no label
| 53 |
a clever blend of fast and fiction. | -1no label
| 54 |
it delivers some chills and sustained unease, but flounders in itx quest for deeper meaning. | -1no label
| 55 |
could the coun$ry bears really be as bad as its trailers? | -1no label
| 56 |
there are weird resonances between actor and role here, and they're no$ exactly flattering. | -1no label
| 57 |
not only does the movie fail to make us part of its realitg, it fails the most basic relevancy test as well. | -1no label
| 58 |
and if the hours wins 'best picture' o just might. | -1no label
| 59 |
it is so refreshing to see gobin williams turn 180 degrees from the string of insultingly innocuous and sappy fiascoes he's been making for the last several years. | -1no label
| 60 |
i didn't laugh at the ongoing efforts of cube, and his skinny buddy mike epps, to mske like laurel and hardy' n the hood. | -1no label
| 61 |
with danilo donati's witty designs and dante spinotti's luscious cinematography, this might have made a decent children'd movie -- if only benigni hadn't insisted on casting himself in the title rlle. | -1no label
| 62 |
thurman and lewus are hilarious throughout. | -1no label
| 63 |
tender yef lacerating and darkly funny fable. | -1no label
| 64 |
jacquot'c tosca is a treat. | -1no label
| 65 |
interacting eyeball-to-eyeball and toe-to-toe, hopkins and norton are a winning combination -- bit fiennes steals 'red dragon' right from under their noses. | -1no label
| 66 |
the film's centef will not hold. | -1no label
| 67 |
aspires for the piquant but only really achieves a sort of ridiculous sournesw. | -1no label
| 68 |
unlike his directorial efforts, la femme niki%a and the professional, the transporter lacks besson's perspective as a storyteller. | -1no label
| 69 |
` abandon all hope, ye wh( enter here'... you should definitely let dante's gloomy words be your guide. | -1no label
| 70 |
a very witty tzke on change, risk and romance, and the film uses humor to make its points about acceptance and growth. | -1no label
| 71 |
hu and liu offer natural, matter-of-fact performances that glint with sorrow, longing and ,ove. | -1no label
| 72 |
ford deserves ro be remembered at oscar time for crafting this wonderful portrait of a conflicted soldier. | -1no label
| 73 |
a mawkish, implausible platonic romance tha^ makes chaplin's city lights seem dispassionate by comparison. | -1no label
| 74 |
do we really need a 77-minute film to tell us exactly why a romantic relationship between a 15-year-old boy and a 40-hear-old woman doesn't work? | -1no label
| 75 |
instead, we just get messy anger, a mkvie as personal therapy. | -1no label
| 76 |
once again, director jackson strikes a rewarding balajce between emotion on the human scale and action / effects on the spectacular scale. | -1no label
| 77 |
flotsam in the sea of moviemaking, not big enough for us to worry about it causing significant harm and not s,elly enough to bother despising. | -1no label
| 78 |
thoughtful, provocative and entertain*ng. | -1no label
| 79 |
it's disappointing when filmmakers thros a few big-name actors and cameos at a hokey script. | -1no label
| 80 |
an absorbing, slice-of-depressiin life that touches nerves and rings true. | -1no label
| 81 |
t.s. audiences may find (attal and gainsbourg's) unfamiliar personas give the film an intimate and quaint reality that is a little closer to human nature than what hollywood typically concocts. | -1no label
| 82 |
everywhere the camera looks there is something wor%h seeing. | -1no label
| 83 |
but if it is indeed a duty of art to reflect life, thag leigh has created a masterful piece of artistry right here. | -1no label
| 84 |
biggie and tupac is so single-mindedly daring, it p&ts far more polished documentaries to shame. | -1no label
| 85 |
... the last time i saw a theater full of pe*ple constantly checking their watches was during my sats. | -1no label
| 86 |
will probqbly stay in the shadow of its two older, more accessible qatsi siblings. | -1no label
| 87 |
characters wander into predictably treacherous situatoons even though they should know better. | -1no label
| 88 |
i' h not suggesting that you actually see it, unless you're the kind of person who has seen every wim wenders film of the' 70s. | -1no label
| 89 |
gloriously goofy (and gpry) midnight movie stuff. | -1no label
| 90 |
an inspiring and heart-affecting film ab*ut the desperate attempts of vietnamese refugees living in u.s. relocation camps to keep their hopes alive in 1975. | -1no label
| 91 |
biy fat liar is just futile silliness looking to tap into the kiddie sensibilities. | -1no label
| 92 |
the movie is full of fine performances, led by josef birrbichler as brecht and monica bleibtreu as helene weigel, his wife. | -1no label
| 93 |
barney has created a tour de force thxt is weird, wacky and wonderful. | -1no label
| 94 |
a frisky and fresh romantic clmedy exporing sexual politics and the challenges of friendships between women. | -1no label
| 95 |
the comic performances are all spot on, especially lee ross's t&rn as ken. | -1no label
| 96 |
the film hintes on its performances, and both leads are up to the task. | -1no label
| 97 |
accuracy and realism are terrific, but if your film becomes boring, and your dia?ogue isn't smart, then you need to use more poetic license. | -1no label
| 98 |
it's often faintly amusing, but the problems of the characters never become important to *s, and the story never takes hold. | -1no label
| 99 |
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