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97 results
    • Kate & Leopold

        Director James Mangold wants to have it both ways in this modern love story, one that reasserts the mythology of romance while making fun of escapist romance stories — with Meg Ryan, Liev Schrieber and a perfectly nuanced performance from Hugh Jackman.
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    • The Majestic

        Director Frank Darabont has turned a mistaken-identity device into a lovely meditation on loss and restoration — an irony-free fable about decency triumphing in the face of cowardice and shame — with Jim Carrey.
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    • Ghostly apparitions

      Guillermo Del Toro returns to haunting with a brilliance.
        Mexican director Guillermo Del Toro (Cronos, Mimic) has fashioned a great, old-fashioned chiller, a ghost story that is about the terrors of the living as well as those of the restless dead, set in an isolated manor house during the waning days of the Spanish Civil War.
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    • Vanilla Sky

        What is it about Alejandro Amenábar’s 1997 psychological thriller, Abre Los Ojos (Open Your Eyes), that would prompt writer-director Cameron Crowe and producer-star Tom Cruise to remake it? What they’ve created here is the ultimate vanity project — with Penélope Cruz and Cameron Diaz.
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    • Once

    • Corporate endgame

      Stockard Channing and Julia Stiles go toe to toe for all the marbles.
        Julie Styron (Stockard Channing) has the power. Or so she thinks. Director Patrick Stettner makes a confident feature debut and walks a fine line in his portrayal of this striver who has climbed the corporate ladder rung by rung — with Julia Stiles.
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    • Come Undone

        While it often seems like the French believe they discovered genitalia and are anxious to share this with the world, the sexual explicitness that films such as this story of gay love use so casually reveals more than flesh. Director Sébastian Lifshitz bathes this brand of raw realism in a rich, cinematic glow.
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    • Texas Rangers

        By no means a great film, this sturdy, old-school western about the difference between revenge and justice so perfectly encapsulates our national psyche at this moment that it should have triggered a full-scale patriotic ad campaign.
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    • Behind Enemy Lines

        It’s a new hybrid, a film which exalts the military as necessary, yet calls into question basic tenets of modern warfare and the ambiguous role of peacekeepers. With Gene Hackman, Owen Wilson and Joaquim de Almeida.
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    • Spy Game

        Robert Redford is still the Sundance Kid, a sly rebel subverting authority from within, in this scattershot adventure that pairs him (to lustrous effect) with Brad Pitt. The film is just never as tough or cynical as it aspires to be.
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    • Desperate obsessions

      Comparisons to Last Tango are just the beginning.
        This tale of sexual obsession among the walking wounded is bound to be compared with Last Tango In Paris for the way it expands the boundaries of raw, explicit sexual expression on the screen. French director Patrice Chéreau’s English-language debut, based on stories by Hanif Kureishi.
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    • Novocaine

        Good-guy Steve Martin is the quintessential patsy, a man stifled by the perfect life he’s created, until Helena Bonham Carter shows up. What comes next is utterly predictable, another case of a duplicitous femme fatale and an elaborate plot to make an innocent man take the blame for crimes he didn’t commit.
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    • Money worries, greed kills

        With every twist and turn in this dark tale of 1949 America, the Coen brothers want to take us down a sleek new road of California noir. But despite Billy Bob Thornton’s superlative performance (he hasn’t sunk this deep into a character since Sling Blade), it often seems like they’re spinning their wheels.
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    • Open wide the world

      Jean-Pierre Jeunet’s magically real film gestures hypnotically.
        In this imaginative, resoundingly quirky French comedy from the original mind of director Jean-Pierre Jeunet (Delicatessen, The City of Lost Children, Alien Resurrection), a solitary Parisian girl changes the lives of those around her through the simple act of breaking down the walls urbanites instinctively construct around themselves.
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    • Indestructibly feminine

      Girls and "girls" make their way through thick and thin.
        This is the ultimate coming-out party, striking for the way Barbra Streisand, making her big-screen debut in her portrayal of vaudeville-era comedienne and chanteuse Fanny Brice, so effectively created her own mythology — with complex performances from both Streisand and Omar Sharif.

        The Iron Ladies

        HHH 1/2

        Using entertainment as a vehicle for social change, director Yongyoot Thongkongtoon recreates the 1996 winning season of a volleyball team composed primarily of gay men who became media darlings in Thailand. The Iron Ladies, as they christen themselves, are wildly flamboyant on the court and off, flying in the face of Asian expectations of proper manhood.

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    • The Last Castle

        This is an odd pastiche of genres, a prison story crossed with a war film, an action movie about pride not reward. Yet director Rod Lurie (Deterrence, The Contender) is unable to inject this story with the gravity it so desperately needs, making it seem little more than an elaborate game of capture the flag.
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    • Waking Life

        Director Richard Linklater’s beautiful film is an experiment in lucid dreaming, a controlled trip through the unconscious threads of a community linked by thought. What makes it so utterly hypnotic is the way the animation team led by art director Bob Sabiston took the live-action footage shot by Linklater and utterly transformed it.
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    • Pigskin politics

      Probing the values of the heartland with an all-out docu-blitz.
        Documentaries are often about underdogs and nonconformists, which is why this portrait of Ohio’s high-school football powerhouse, the Massillon Tigers, is a remarkable anomaly. Writer-director-producer Kenneth A. Carlson, a Massillon native, has fashioned a remarkably clear-eyed depiction of jock culture and societal groupthink.
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    • My First Mister

        Good actors giving solid, realistic performances can often make a mediocre film better than it has any right to be. In Christine Lahti’s directorial debut, intelligent performers Leelee Sobieski and Albert Brooks embrace not the glib, melodramatic script from sitcom writer Jill Franklin but dig deep to touch the inner lives of their isolated characters.
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    • The Girl

        In director Sande Zeig’s feature debut, based on a short story by French author Monique Wittig, a nightclub singer is the elusive focus of a tale of obsessive lesbian love that both embraces and dissects film-noir conventions. It’s as elegantly spare as the quiet Parisian streets of its setting.
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    • Liam

        Director Stephen Frears (My Beautiful Laundrette, The Snapper, High Fidelity) does a superb job of presenting a very precise slice of life here, a decidedly low-key look at the specifics of the working class slipping inexorably into poverty while trying to hold on to faith and family.
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    • Hearts in Atlantis

        This coming-of-age tale based on two Stephen King stories contains little of the page-turning drive of his most compelling work. This doesn’t stop director Scott Hicks (Snow Falling on Cedars) from encapsulating the nuances of a specific time and place. Anthony Hopkins anchors it all with his authoritative solidity.
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    • Glitter

        When a pop star like Mariah Carey makes her movie debut, the question is "Can she act?" The answer is yes and no. And as laughable as Glitter is in its wildly inconsistent portrayal of the music business, its biggest sin is in wasting the talents of a supporting cast loaded with actor-musicians (Da Brat, Tia Texada, Eric Benét, Ann Magnuson).
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    • Tortilla Soup

        Movies that focus on the preparation and consumption of food are more often about the nourishment of the spirit than the body, and this one (based on Ang Lee’s Eat Drink Man Woman) is a textbook recipe. But it’s a spicy meal that’s been carefully toned down to cater to blander tastes.
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