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allegiance to chekhov , which director michael cacoyannis displays with somber earnestness in the new adaptation of the cherry orchard , is a particularly vexing handicap .
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edgy thriller
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as the film breaks your heart
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the movie 's blatant derivativeness is one reason it 's so lackluster .
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from a stunningly unoriginal premise
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the film does pack some serious suspense .
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tiring
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'll find yourself remembering this refreshing visit to a sunshine state
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an unbelievably stupid film , though occasionally fun enough to make you
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tom tykwer , director of the resonant and sense-spinning run lola run , has turned out to be a one-trick pony
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proves itself a more streamlined
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with remarkable serenity and discipline
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does the nearly impossible
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there 's some outrageously creative action in the transporter ... ( b ) ut by the time frank parachutes down onto a moving truck
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too much syrup
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its critical backlash
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imagine ( if possible ) a pasolini film without passion or politics
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becomes long and tedious like a classroom play in a college history course .
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was inspired
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the heart of the film is a touching reflection on aging , suffering and the prospect of death .
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bland songs
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like a human volcano or an overflowing septic tank
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that was hard for me to warm up to
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beyond the end zone
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figures prominently in this movie
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staged like `` rosemary 's baby , '' but is not as well-conceived as either of those films .
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'' exceeds expectations .
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inventiveness
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was so uninspiring that even a story immersed in love , lust , and sin could n't keep my attention .
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open yourself up to mr. reggio 's theory of this imagery as the movie 's set
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sit through -- despite some first-rate performances
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the action is dazzling
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director hoffman , with great help from kevin kline , makes us care about this latest reincarnation of the world 's greatest teacher
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held hostage
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is visually ravishing
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thought-provoking and stylish , if also somewhat hermetic .
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will prefer this new version
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be viewed and treasured for its extraordinary intelligence and originality as well as
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it 's kind of insulting , both to men and women .
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wall
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despite slick production values and director roger michell 's tick-tock pacing , the final effect is like having two guys yelling in your face for two hours .
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, crush goes to absurd lengths to duck the very issues it raises .
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strange and beautiful film .
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's just too boring and obvious
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, uneven action comedy
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all this visual trickery stops being clever and devolves into flashy , vaguely silly overkill .
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funny fanatics
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fantastic movie
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make love a joy to behold .
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better suited to a night in the living room than a night at the movies
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nothing but an episode
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their bodies
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is to catch the pitch of his poetics , savor the pleasure of his sounds and images , and ponder the historical , philosophical , and ethical issues that intersect with them .
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showcases a group of dedicated artists
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the quaking essence of passion , grief and fear
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pitted against shimmering cinematography that lends the setting the ethereal beauty of an asian landscape painting
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very , very good reasons
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the pleasures of a well-made pizza
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an ( emotionally at least ) adolescent audience demanding regular shocks and bouts of barely defensible sexual violence to keep it interested
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rather simplistic
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i 've never bought from telemarketers , but i bought this movie .
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's clotted with heavy-handed symbolism , dime-store psychology and endless scenic shots that make 105 minutes seem twice as long .
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smaller numbered kidlets will enjoy .
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the movie 's biggest shocks come from seeing former nymphette juliette lewis playing a salt-of-the-earth mommy named minnie and watching slim travel incognito in a ridiculous wig no respectable halloween costume shop would ever try to sell .
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to narrative filmmaking with a visually masterful work of quiet power
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lost and desolate
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tears welled up in my eyes both times
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potentially good comic premise
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what once was conviction is now affectation
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tumbleweeds blowing through the empty theaters
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as fascinating
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that with really poor comedic writing
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offers few surprises
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hollow , self-indulgent , and - worst of all -
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weave a protective cocoon around his own ego
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war-weary marine
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painfully padded .
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a sharp , amusing study of the cult
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entertaining , if somewhat standardized , action
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flirts with propaganda
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of an allegedly inspiring and easily marketable flick
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agreed
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to keep you at the edge of your seat with its shape-shifting perils , political intrigue and brushes with calamity
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is matched only by the ridiculousness of its premise
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including that between the son and his wife , and the wife and the father , and between the two brothers , with incredible subtlety and acumen
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he has actually bothered to construct a real story this time .
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subjected to farts , urine , feces , semen , or any of the other foul substances
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paul cox needed to show it .
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skip this dreck
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marginal intelligence
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delightfully so
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that martin lawrence 's latest vehicle can explode obnoxiously into 2,500 screens while something of bubba ho-tep 's clearly evident quality may end up languishing on a shelf somewhere
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nearly all the fundamentals you take for granted in most films are mishandled here .
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nevertheless , it still seems endless .
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a few laughs
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vereté has a whip-smart sense of narrative bluffs .
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this is just lazy writing .
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becomes a soulful , incisive meditation
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are of the highest and the performances
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zips along with b-movie verve while adding the rich details and go-for-broke acting that heralds something special .
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