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( allen ) manages to breathe life into this somewhat tired premise .
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the writing and direction to the soggy performances
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went back
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unfunny
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good film
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a simplistic narrative and
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plodding , peevish and gimmicky .
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finely written
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attentive
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a canny crowd pleaser ,
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real and amusing
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a dependable concept
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straight from the saturday morning cartoons
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least
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very light
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thoughtful dialogue elbowed aside by one-liners , and a visual style that incorporates rotoscope animation for no apparent reason except
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dying a slow death
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some good material in their story about a retail clerk wanting more out of life
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lack contrast , are murky and are frequently too dark to be decipherable .
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under the skin of a man we only know as an evil , monstrous lunatic
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transporting is that it 's also one of the smartest
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reminiscent of gong li and a vivid personality
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to convince almost everyone that it was put on the screen , just for them
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downright intoxicating
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with ` bowling for columbine , ' michael moore gives us the perfect starting point for a national conversation about guns , violence , and fear .
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especially the pseudo-educational stuff we all ca n't stand
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vaporize from your memory minutes
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energetic
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's the inimitable diaz , holding it all together .
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decrepit
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two guys yelling in your face for two hours
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bloody beauty as vivid
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cold , sterile and lacking any color or warmth
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is not handled well
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long and eventful
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, after only three films , director/co-writer jacques audiard , though little known in this country , belongs in the very top rank of french filmmakers
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suffocating
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has considerable charm
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for its extraordinary intelligence and originality
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stink
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good-bad that makes eight legged freaks a perfectly entertaining summer diversion
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the milieu is wholly unconvincing ... and the histrionics reach a truly annoying pitch
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kids will love its fantasy and adventure
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( or role , or edit , or score , or anything , really
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, to my great pleasure ,
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one of the most entertaining bonds in years
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in a standard plot
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the moral shrapnel and mental shellshock will linger long after this film has ended .
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been written so well , that even a simple `` goddammit
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b movies
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to address his own world war ii experience in his signature style
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from others in its genre in that it is does not rely on dumb gags , anatomical humor , or character cliches
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draws on an elegant visual sense and a talent
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be one of those movies barely registering a blip on the radar screen of 2002
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for pretentious arts majors
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see a movie with its heart
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reek of a script
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bottom tier
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delivers a powerful commentary on how governments lie , no matter who runs them
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an admirable reconstruction of terrible events
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's a tribute to the actress , and to her inventive director
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as john ritter 's glory days
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fights a good fight
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is god
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floating narrative
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stand in future years as an eloquent memorial to the world trade center tragedy
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a screenplay that forces them into bizarre , implausible behavior
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of this dog of a movie
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too bad kramer could n't make a guest appearance to liven things up .
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plays like a bad blend of an overripe episode of tv 's dawson 's creek and a recycled and dumbed-down version of love story .
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yet depressing film
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does pack some serious suspense .
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descends into such message-mongering moralism
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gripping humanity
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fall fast asleep
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virtually no aftertaste
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inane and unimaginative
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's no surprise that as a director washington demands and receives excellent performances ,
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bound
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self-absorbed
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see the forest for the trees
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's a feel-good movie about which you can actually feel good
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intolerable company
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talky , artificial and opaque
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for one splendidly cast pair
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underneath such a mountain of clichés and borrowed images
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falsehoods pile up , undermining the movie 's reality and stifling its creator 's comic voice .
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convincing as this bland blank of a man with unimaginable demons
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are ... impeccable throughout .
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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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horror/action hybrid
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of the finest films of the year
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lives up to the stories and faces and music of the men who are its subject .
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that at the very least has a spark of life to it -- more than you can say for plenty of movies that flow through the hollywood pipeline without a hitch
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director paul cox 's unorthodox , abstract approach to visualizing nijinsky 's diaries is both stimulating and demanding .
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is too long with too little going on
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much needed
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jones and snipes are enthralling
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that this is a serious work by an important director who has something new to say about how , in the flip-flop of courtship , we often reel in when we should be playing out
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participation
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