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gpt2_mr_pair_clare_original

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unpretentious , charming , quirky , original

a film really has to be exceptional to justify a three hour running time , and this isn't .

working from a surprisingly sensitive script co-written by gianni romoli . . . ozpetek avoids most of the pitfalls you'd expect in such a potentially sudsy set-up .

it may not be particularly innovative , but the film's crisp , unaffected style and air of gentle longing make it unexpectedly rewarding .

the lead actors share no chemistry or engaging charisma . we don't even like their characters .

the metaphors are provocative , but too often , the viewer is left puzzled by the mechanics of the delivery .

marinated in clichés and mawkish dialogue .

we started to wonder if … some unpaid intern had just typed 'chris rock , ' 'anthony hopkins' and 'terrorists' into some univac-like script machine .

an uneasy mix of run-of-the-mill raunchy humor and seemingly sincere personal reflection .

the film . . . presents classic moral-condundrum drama : what would you have done to survive ? the problem with the film is whether these ambitions , laudable in themselves , justify a theatrical simulation of the death camp of auschwitz ii-birkenau .

it has the right approach and the right opening premise , but it lacks the zest and it goes for a plot twist instead of trusting the material .

there is more than one joke about putting the toilet seat down . and that should tell you everything you need to know about all the queen's men .

as it stands , crocodile hunter has the hurried , badly cobbled look of the 1959 godzilla , which combined scenes of a japanese monster flick with canned shots of raymond burr commenting on the monster's path of destruction .

fails in making this character understandable , in getting under her skin , in exploring motivation . . . well before the end , the film grows as dull as its characters , about whose fate it is hard to care .

the wild thornberrys movie is pleasant enough and the message of our close ties with animals can certainly not be emphasized enough .

a charming and funny story of clashing cultures and a clashing mother/daughter relationship .

it's like a " big chill " reunion of the baader-meinhof gang , only these guys are more harmless pranksters than political activists .

what ensues are much blood-splattering , mass drug-induced bowel evacuations , and none-too-funny commentary on the cultural distinctions between americans and brits .

the stunt work is top-notch ; the dialogue and drama often food-spittingly funny .

director lee has a true cinematic knack , but it's also nice to see a movie with its heart so thoroughly , unabashedly on its sleeve .

an unsophisticated sci-fi drama that takes itself all too seriously .

goldmember is funny enough to justify the embarrassment of bringing a barf bag to the moviehouse .

death to smoochy tells a moldy-oldie , not-nearly -as-nasty -as-it- thinks-it-is joke . over and over again .

an original and highly cerebral examination of the psychopathic mind

meticulously uncovers a trail of outrageous force and craven concealment .

i prefer soderbergh's concentration on his two lovers over tarkovsky's mostly male , mostly patriarchal debating societies .

a rip-off twice removed , modeled after [seagal's] earlier copycat under siege , sometimes referred to as die hard on a boat .

if you're looking for an intelligent movie in which you can release your pent up anger , enough is just the ticket you need .

one of those joyous films that leaps over national boundaries and celebrates universal human nature .

what might have been readily dismissed as the tiresome rant of an aging filmmaker still thumbing his nose at convention takes a surprising , subtle turn at the midway point .

one gets the impression the creators of don't ask don't tell laughed a hell of a lot at their own jokes . too bad none of it is funny .

the dialogue is cumbersome , the simpering soundtrack and editing more so .

master of disguise runs for only 71 minutes and feels like three hours .

less cinematically powerful than quietly and deeply moving , which is powerful in itself .

a moving and not infrequently breathtaking film .

a so-so , made-for-tv something posing as a real movie .

pratfalls aside , barbershop gets its greatest play from the timeless spectacle of people really talking to each other .

in imax in short , it's just as wonderful on the big screen .

steven soderbergh doesn't remake andrei tarkovsky's solaris so much as distill it .

an engrossing story that combines psychological drama , sociological reflection , and high-octane thriller .

a big-budget/all-star movie as unblinkingly pure as the hours is a distinct rarity , and an event .

even fans of ismail merchant's work , i suspect , would have a hard time sitting through this one .

an odd drama set in the world of lingerie models and bar dancers in the midwest that held my interest precisely because it didn't try to .

fans of the modern day hong kong action film finally have the worthy successor to a better tomorrow and the killer which they have been patiently waiting for .

'dragonfly' dwells on crossing-over mumbo jumbo , manipulative sentimentality , and sappy dialogue .

manages to accomplish what few sequels can -- it equals the original and in some ways even betters it .

the rules of attraction gets us too drunk on the party favors to sober us up with the transparent attempts at moralizing .

twohy knows how to inflate the mundane into the scarifying , and gets full mileage out of the rolling of a stray barrel or the unexpected blast of a phonograph record .

nothing but an episode of smackdown ! in period costume and with a bigger budget .

too slick and manufactured to claim street credibility .

a film of delicate interpersonal dances . caine makes us watch as his character awakens to the notion that to be human is eventually to have to choose . it's a sight to behold .

supposedly authentic account of a historical event that's far too tragic to merit such superficial treatment .

" what really happened ? " is a question for philosophers , not filmmakers ; all the filmmakers need to do is engage an audience .

you come away thinking not only that kate isn't very bright , but that she hasn't been worth caring about and that maybe she , janine and molly -- an all-woman dysfunctional family -- deserve one another .

connoisseurs of chinese film will be pleased to discover that tian's meticulous talent has not withered during his enforced hiatus .

a rehash of every gangster movie from the past decade .

" one look at a girl in tight pants and big tits and you turn stupid ? " um… . . isn't that the basis for the entire plot ?

yes they can swim , the title is merely anne-sophie birot's off-handed way of saying girls find adolescence difficult to wade through .

we get the comedy we settle for .

charly comes off as emotionally manipulative and sadly imitative of innumerable past love story derisions .

much smarter and more attentive than it first sets out to be .

cherry orchard is badly edited , often awkwardly directed and suffers from the addition of a wholly unnecessary pre-credit sequence designed to give some of the characters a 'back story . '

a movie of riveting power and sadness .

the high-concept scenario soon proves preposterous , the acting is robotically italicized , and truth-in-advertising hounds take note : there's very little hustling on view .

tully is worth a look for its true-to-life characters , its sensitive acting , its unadorned view of rural life and the subtle direction of first-timer hilary birmingham .

the movie is a little tired ; maybe the original inspiration has run its course .

[scherfig] has made a movie that will leave you wondering about the characters' lives after the clever credits roll .

if a few good men told us that we " can't handle the truth " than high crimes poetically states at one point in this movie that we " don't care about the truth . "

symbolically , warm water under a red bridge is a celebration of feminine energy , a tribute to the power of women to heal .

i was hoping that it would be sleazy and fun , but it was neither .

this new zealand coming-of-age movie isn't really about anything . when it's this rich and luscious , who cares ?

this is one of mr . chabrol's subtlest works , but also one of his most uncanny .

it's hard to understand why anyone in his right mind would even think to make the attraction a movie . and it's harder still to believe that anyone in his right mind would want to see the it .

scherfig , the writer-director , has made a film so unabashedly hopeful that it actually makes the heart soar . yes , soar .

[lee] treats his audience the same way that jim brown treats his women -- as dumb , credulous , unassuming , subordinate subjects . and lee seems just as expectant of an adoring , wide-smiling reception .

you can practically hear george orwell turning over .

seeing as the film lacks momentum and its position remains mostly undeterminable , the director's experiment is a successful one .

a wannabe comedy of manners about a brainy prep-school kid with a mrs . robinson complex founders on its own preciousness -- and squanders its beautiful women .

one funny popcorn flick .

a pointed , often tender , examination of the pros and cons of unconditional love and familial duties .

a penetrating glimpse into the tissue-thin ego of the stand-up comic .

a brilliant , absurd collection of vignettes that , in their own idiosyncratic way , sum up the strange horror of life in the new millennium .

. . . hopefully it'll be at the dollar theatres by the time christmas rolls around . wait to see it then .

jolie gives it that extra little something that makes it worth checking out at theaters , especially if you're in the mood for something more comfortable than challenging .

leaves viewers out in the cold and undermines some phenomenal performances .

a much more successful translation than its most famous previous film adaptation , writer-director anthony friedman's similarly updated 1970 british production .

this chicago has hugely imaginative and successful casting to its great credit , as well as one terrific score and attitude to spare .

the film may not hit as hard as some of the better drug-related pictures , but it still manages to get a few punches in .

ice age is the first computer-generated feature cartoon to feel like other movies , and that makes for some glacial pacing early on .

remember back when thrillers actually thrilled ? when the twist endings were actually surprising ? when the violence actually shocked ? when the heroes were actually under 40 ? sadly , as blood work proves , that was a long , long time ago .

there's no denying that burns is a filmmaker with a bright future ahead of him .

it collapses when mr . taylor tries to shift the tone to a thriller's rush .

there's a great deal of corny dialogue and preposterous moments . and yet , it still works .

'opening up' the play more has partly closed it down .

ah , the travails of metropolitan life ! alas , another breathless movie about same !

you don't know whether to admire the film's stately nature and call it classicism or be exasperated by a noticeable lack of pace . or both .

as allen's execution date closes in , the documentary gives an especially poignant portrait of her friendship with the never flagging legal investigator david presson .

plunges you into a reality that is , more often then not , difficult and sad , and then , without sentimentalizing it or denying its brutality , transforms that reality into a lyrical and celebratory vision .

yet another self-consciously overwritten story about a rag-tag bunch of would-be characters that team up for a can't-miss heist -- only to have it all go wrong .

what emerges is an unsettling picture of childhood innocence combined with indoctrinated prejudice . promises is a compelling piece that demonstrates just how well children can be trained to live out and carry on their parents' anguish .