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it can seem tiresomely simpleminded .
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revelled in the entertaining shallows
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good music documentary
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wewannour money back , actually .
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makes up for it with a pleasing verisimilitude
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animation back 30 years , musicals back 40 years and
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mysterious , sensual , emotionally intense , and replete
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a good-hearted ensemble comedy with a variety of quirky characters and an engaging story
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can take credit for most of the movie 's success .
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still , the updated dickensian sensibility of writer craig bartlett 's story is appealing .
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a satisfying well-made romantic comedy
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crammed with scenes and vistas and pretty moments
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impressive performances
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a great one
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proves unrelentingly grim -- and equally engrossing .
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of cerebral and cinemantic flair
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oodles of charm
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one whose view of america , history and the awkwardness of human life is generous and deep
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in xxx , diesel is that rare creature -- an action hero with table manners , and one who proves that elegance is more than tattoo deep .
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exactly endearing
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churns up not one but two flagrantly fake thunderstorms to underscore the action
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constantly flows forwards and back , weaving themes among three strands which allow us to view events as if through a prism
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kline 's ) utterly convincing -- and deeply appealing -- as a noble teacher who embraces a strict moral code
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delivers a magnetic performance .
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a sumptuous work
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are innocent , childlike and inherently funny
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're stuck with a script that prevents them from firing on all cylinders
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likeable thanks to its cast , its cuisine and its quirky tunes
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of ` black culture ' and the dorkier aspects
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the crap
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consumed by lust and love and crushed by betrayal that it conjures up the intoxicating fumes and emotional ghosts of a freshly painted rembrandt
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sodden and glum
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frequently hilarious
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because panic room is interested in nothing more than sucking you in ... and making you sweat
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i did n't laugh .
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glued
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it has its faults
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nice twists
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were already tired
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rooting for the film
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dumb , sweet , and intermittently hilarious
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refreshingly forthright one
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does somehow manage to get you under its spell
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salient points
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cruel story
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defuses this provocative theme by submerging it in a hoary love triangle .
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pretentious mess
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campanella 's competent direction and his excellent cast overcome the obstacles of a predictable outcome and a screenplay that glosses over rafael 's evolution .
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ca n't accuse kung pow for misfiring , since it is exactly what it wants to be : an atrociously , mind-numbingly , indescribably bad movie
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derivative , overlong , and bombastic
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the high infidelity
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admirable energy , full-bodied characterizations and narrative urgency
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a culture-clash comedy that , in addition to being very funny ,
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, and yet at the end
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actually means to face your fears
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not a word of english
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well-intentioned
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wickedly sick and twisted humor
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african american professionals
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tipped this film into the `` a '' range , as is
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of those reputedly `` unfilmable '' novels that has bucked the odds to emerge as an exquisite motion picture in its own right
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emotionally and narratively complex
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consider it ` perfection . '
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, structure and rhythms
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just too silly and
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impressive and yet lacking about everything
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starving and untalented
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gets clunky on the screen
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has none of the crackle of `` fatal attraction '' , `` 9 1/2 weeks '' , or even `` indecent proposal '' , and feels more like lyne 's stolid remake of `` lolita '' .
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personality
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to bleed it almost completely dry of humor , verve and fun
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fails to rise above its disgusting source material
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jolly , fun-for-fun 's - sake communal spirit goes to the essence of broadway
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an intriguing look at the french film industry during the german occupation ; its most delightful moments come when various characters express their quirky inner selves
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so many distracting special effects and visual party tricks
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disappoints
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a time machine , a journey back to your childhood , when cares melted away in the dark theater , and films had the ability to mesmerize , astonish and entertain .
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difficult for the audience
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utterly misplaced
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a spirited film
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the makers of this ` we 're - doing-it-for - the-cash ' sequel were
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awakening and ripening
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is rote work and predictable , but with a philosophical visual coming right at the end that extravagantly redeems it
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complex
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been conjured up only 10 minutes prior to filming
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bears a grievous but obscure complaint against fathers ,
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is an insultingly inept and artificial examination of grief and its impacts upon the relationships of the survivors
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were watching monkeys flinging their feces at you .
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a visually flashy but narratively opaque and emotionally vapid exercise in style and mystification .
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` blade ii ' just does n't cut it
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seem like they were lifted from terry gilliam 's subconscious , pressed through kafka 's meat grinder and into buñuel 's casings
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) taste for `` shock humor '' will wear thin on all
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soul-stirring documentary
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a matter of plumbing arrangements and mind games , of no erotic or sensuous charge
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uncanny ability to right itself precisely when you think it 's in danger of going wrong
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an appealing couple --
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juwanna mann
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that 's conspicuously missing from the girls ' big-screen blowout
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an extended , open-ended poem
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and self-conscious seams
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