For 20,280 reviews, this publication has graded:
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46% higher than the average critic
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5% same as the average critic
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49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics.
(0-100 point scale)
Average Movie review score: 61
| Highest review score: | Short Cuts | |
|---|---|---|
| Lowest review score: | Gummo |
Score distribution:
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Positive: 9,381 out of 20280
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Mixed: 8,435 out of 20280
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Negative: 2,464 out of 20280
20280
movie
reviews
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- By Critic Score
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Reviewed by
Stephen Holden
Originally released seven years ago on home video, is only now surfacing as a theatrical release. Although it's no classic, it's a cut or two smarter than the average Hollywood comedy. At its best, it plays like a less acerbic, less Jewish triple episode of "Curb Your Enthusiasm." (review of re-release)- The New York Times
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Reviewed by
Janet Maslin
Films like "The Pianist" and "Schindler's List" immerse viewers in the bleakness of that time. The Red Orchestra is set in a sunnier world, which seems more frighteningly false. The bright, quotidian landscape seems a facade that threatens to tumble at any moment.- The New York Times
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Reviewed by
Janet Maslin
Over all, this deferential film salutes Mr. Hockney's artistry as an elixir for creaky texts, a hallucinogen for orthodox opera fans, and an antidote to his own senescence. As much as he lets the filmmaker be present, he successfully avoids real intimacy, keeping his personal life comfortably backstage.- The New York Times
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Reviewed by
Anita Gates
Rick King's stirring documentary Voices in Wartime is not, as you might guess from the title, a compilation of soldiers' battlefield letters to their families back home. This intense little film is about poetry, and not just Homer's "Iliad."- The New York Times
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- The New York Times
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Reviewed by
Jeannette Catsoulis
Moving and ultimately hopeful, Another Road Home makes no effort to soften or simplify its prickly themes.- The New York Times
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Reviewed by
Janet Maslin
The cinematic safari's simple pleasures are best experienced with the littlest ticket-holders, who get an edifying thrill ride and a computer-assisted sense of a wider world.- The New York Times
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Reviewed by
Jeannette Catsoulis
The movie is 74 minutes of hilarious pro-drug vignettes, loosely strung together like a themed episode of "Saturday Night Live."- The New York Times
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Reviewed by
Stephen Holden
Despite being edited in a style that jarringly blurs the past and the present by switching from one to the other without preparation, Almost Brothers is strong stuff.- The New York Times
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Reviewed by
Lawrence Van Gelder
An inspiring film about an inspired teacher. It should leave all viewers with an ounce of curiosity eager to hit the streets with Dobsonian telescopes of their own.- The New York Times
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Jeannette Catsoulis
Lustre is a post-Sept. 11 love letter to a New York past that Mr. Jones clearly mourns.- The New York Times
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Reviewed by
Jeannette Catsoulis
The resulting film is a record of indefatigably focused activity that began with the simple goal of rescue but evolved into a therapeutic tool for resolution and acceptance.- The New York Times
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Reviewed by
Laura Kern
Considering the delicate and weighty subject matter, the film's tone is surprisingly light, sometimes even humorous, which helps to balance the harsh sentiments that death inevitably brings.- The New York Times
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Reviewed by
Dana Stevens
Interspersing shots from the original film - many of which are justly famous for their power and complexity - with interviews, Mr. Ferraz has produced a welcome piece of historical explication.- The New York Times
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Reviewed by
Jeannette Catsoulis
Without losing sight of the music's essential energy, Mr. Wolfe peppers his film with quietly resonant shots.- The New York Times
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Reviewed by
Jeannette Catsoulis
A quiet, thoughtful film about isolation and separation.- The New York Times
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Reviewed by
Lawrence Van Gelder
The director, who also served as producer along with Lisa Comforty, his wife, spent 12 years compiling the archival clips and photographs that make up this compact and elegant film.- The New York Times
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- The New York Times
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Reviewed by
Dana Stevens
With its deliberately overexposed film stock and driving electronic score, Ms. Maccarone's film occasionally suffers from a self-conscious artiness, but at its center is an extraordinary performance by Ms. Tabatabai as Fariba, a young woman whose expectations have been lowered by a lifetime of systematic mistreatment but who still holds out hope for the possibility of both justice and love.- The New York Times
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Reviewed by
Jeannette Catsoulis
A bracingly honest yet poetic portrait of a man refusing to be defined by the limitations of his body.- The New York Times
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Reviewed by
Laura Kern
Watching the aging, but still spirited, singers come together to express their gratitude for the man who started their careers is often genuinely touching.- The New York Times
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Reviewed by
Stephen Holden
In the film's production notes, Mr. Glawogger wonders, "Is heavy manual labor disappearing or is it just becoming invisible?" In this visually impressive but proudly unscientific hymn to progress, the answers are yes and yes.- The New York Times
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Reviewed by
Laura Kern
Only inconsistent pacing and a few minor contrivances that develop late in the film dull its otherwise quietly effective dramatic impact.- The New York Times
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Reviewed by
Stephen Holden
The uninitiated viewer can admire it simply for the majesty of its visual poetry.- The New York Times
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- The New York Times
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Reviewed by
Nathan Lee
This pleasant if inconsequential romantic comedy from the Croatian director Hrvoje Hribar is distinguished by its good-natured sensibility and rowdy, slightly fabulous tone: a kind of Eastern European magic realism, without the magic.- The New York Times
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Reviewed by
Jeannette Catsoulis
Crammed with comments from patrons and performers, La Tropical is a sensual celebration of people for whom dancing is the "most important nonreligious ritual."- The New York Times
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Reviewed by
Nathan Lee
What emerges is less the celebration of an institution than a picture of man's relationship to nature that is every bit as beguiling as a Rousseau.- The New York Times
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Reviewed by
Manohla Dargis
Tells the depressing, often ridiculous and generally enraging story of how and why Mr. Chong, an extremely laid-back and genial camera presence, ended up doing time in the minimum-security Taft Correctional Institution in Taft, Calif.- The New York Times
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Reviewed by
Nathan Lee
Affected but elegant, this digital video riff on "Death in Venice" was orchestrated by Lech Majewski, the Polish writer, painter and director of films, plays and operas. His musicality is evident in the fresh and lively flow of images, though his tin ear for dialogue and staleness of theme enervates the composition.- The New York Times
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Reviewed by
Nathan Lee
Room is an existential horror film, a parable of the war against terror being waged in Julia's psyche.- The New York Times
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Reviewed by
Stephen Holden
As thorough an examination of the sport as you could hope to squeeze into 90 taut, well-organized minutes.- The New York Times
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Reviewed by
Neil Genzlinger
Similar stories in the United States tend to be turned into made-for-television mush. This one is manipulative in its own way, but it casts a sweet spell nonetheless.- The New York Times
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The movie is most engaging when following Mr. Mendelson around his old neighborhood, Borough Park, which, we learn, is simply teeming with bakers whose singing is on a par with their knishes.- The New York Times
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Reviewed by
Stephen Holden
The fact that her story of triumph over unimaginable odds doesn't come freighted with mystical and religious bromides makes it all the more inspiring.- The New York Times
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Reviewed by
Jeannette Catsoulis
Despite its immersion in tragedy and decline, So Much So Fast is leavened by unexpected humor.- The New York Times
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- The New York Times
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Reviewed by
Jeannette Catsoulis
Keir Moreano’s muted yet moving record of his father's experience as a volunteer doctor in Vietnam, documents a journey that's substantially more philosophical than medical.- The New York Times
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Reviewed by
Laura Kern
A straightforward, quietly persuasive primer on the climate-change crisis.- The New York Times
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Reviewed by
Anita Gates
It isn't often that you see a film about Israelis and Palestinians that can be called hopeful, but Ronit Avni's assured, thoughtful and clear-eyed documentary certainly qualifies.- The New York Times
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Reviewed by
Stephen Holden
As this smart, hard-bitten woman with an eighth-grade education pursues her quest, the documentary portrays the debate between connoisseurship and science as a culture war.- The New York Times
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Reviewed by
Laura Kern
This innovative chronicle of a truly modern romance also conveys, in a painful, darkly humorous way, a variety of ultra-identifiable truths, including the loneliness often suffered by big-city inhabitants and the complexities of sexual intimacy.- The New York Times
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- The New York Times
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- The New York Times
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Reviewed by
Jeannette Catsoulis
Julian P. Hobbs directs by getting out of the way of his star's soulful eyes and considerable talent, allowing Mr. Mays to feed on the tension between the rationality of his character's courtroom argument and the utter lunacy of his beliefs.- The New York Times
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Reviewed by
Neil Genzlinger
Ellington fans will certainly relish the many vintage clips scattered throughout.- The New York Times
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Reviewed by
Jeannette Catsoulis
One of those rare ensemble dramas whose actors work toward common goals rather than individual awards, the movie resolves its creeping escalation of poor judgment and reprehensible behavior with surprising emotional force.- The New York Times
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Nonfiction doesn't quite describe what Ms. Bruno does. Her work takes risks with form to imply that individual suffering and transcendence are but particles in a river of spiritual energy that dwarfs geography and time.- The New York Times
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Reviewed by
Jeannette Catsoulis
An unusually perceptive scrutiny of absence and emptiness.- The New York Times
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Reviewed by
A.O. Scott
If it tells, in Mr. Ludin’s words, "a typical German story," the movie also offers an unusually matter-of-fact picture of the private and public effects of ordinary evil.- The New York Times
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Reviewed by
Jeannette Catsoulis
A heartbreaking and meticulous documentary about life inside a blue-jeans factory in China.- The New York Times
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Reviewed by
Jeannette Catsoulis
Like most films of this type, Room 314 demands a great deal from its performers, not all of whom withstand the intense scrutiny. Fortunately, the action is bookended by four of the best.- The New York Times
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So much of American pop thrives on a bratty facsimile of courage that when you see the real deal, it's a revelation. East of Havana is the real deal.- The New York Times
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Reviewed by
Manohla Dargis
Notes on Marie Menken shines a quavering if welcome ray of light on a largely forgotten figure in the American avant-garde film scene of the 1940s, ’50s and ’60s.- The New York Times
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Reviewed by
Jeannette Catsoulis
Border Post is notable for representing all of Yugoslavia's former member republics among its producers and for a tone that juggles humor and harshness without sacrificing either.- The New York Times
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Reviewed by
A.O. Scott
Gorgeously shot, moving through the decades in a gentle adagio, it is less a chronicle than a tribute -- and also, to non-initiates in the game of go, a bit of a puzzle.- The New York Times
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The movie's meat-and-potatoes style seems less a failure of imagination than a means of putting in the foreground its intriguing subject matter.- The New York Times
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Reviewed by
A.O. Scott
Syndromes and a Century, like its curious title, has the logic of a dream, a piece of music or perhaps a John Ashbery poem. Its coherence is evident; it is too lovely and lucid to be frustrating or dull. But it takes place just on the other side of conscious apprehension.- The New York Times
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Reviewed by
Jeannette Catsoulis
A lively romp through terrain less traveled than you might think.- The New York Times
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Reviewed by
Jeannette Catsoulis
An enigmatic and utterly compelling story of incinerated art, unbridled egos and exotic plants.- The New York Times
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ShowBusiness is packed with telling details that the director, Dori Berinstein, was lucky to catch on camera.- The New York Times
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Reviewed by
Jeannette Catsoulis
Memories of Tomorrow finally understands that the real victim of this terrible affliction is the partner left behind.- The New York Times
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Reviewed by
Stephen Holden
Like all of Mr. von Trier's films, The Boss of It All is a cold, misanthropic work that places no faith in institutions and in humanity itself. But it's also very funny.- The New York Times
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Reviewed by
Neil Genzlinger
Mostly Mr. Jun's script is sharp, and Laurie Metcalf, James McDaniel, America Ferrera and Raymond J. Barry in supporting roles help keep the tale mesmerizing, in a small-scale sort of way.- The New York Times
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Reviewed by
Stephen Holden
In Pierrepoint:The Last Hangman Timothy Spall sinks his teeth into one of the juiciest roles of his career.- The New York Times
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Reviewed by
Janet Maslin
Set against lovely verdant scenery but structured as a series of rambling vignettes, the stories in Being Human don't entirely mesh.- The New York Times
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An example of a film whose style doesn’t merely suit its story but amplifies its meanings.- The New York Times
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- The New York Times
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Reviewed by
Stephen Holden
When they discover they've been made fools of, they accept this performance event with surprising equanimity. There is a lot of grumbling but no riot. They get the joke.- The New York Times
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Intrigues because it presents an outwardly decent man falling equally in love with two women but eschews simplistic judgments.- The New York Times
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The sum total of this gamesmanship is a suspenseful, funny film that touches on a corporation’s responsibility to society, the price of ambition, the persistence of workplace sexism, the destructive competition between women, and why it’s a good idea to take an extra shirt to your next interview.- The New York Times
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Reviewed by
Laura Kern
Even naysayers of reality TV’s simplistic structure, which the film openly borrows, may find themselves rooting for a couple of choice -- and having fun in the process. The real-estate game can actually be a laughing matter when you’re not a contestant.- The New York Times
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Reviewed by
Jeannette Catsoulis
Vividly impressionistic and delightfully curious.- The New York Times
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Reviewed by
A.O. Scott
The reckoning with the past, which has occupied West German society since the 1960s, has been painful and divisive, which makes the calm, empirical spirit of this film all the more impressive.- The New York Times
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Reviewed by
A.O. Scott
I found Mr. Zobel’s film touching and amusing, but it also left me a bit queasy.- The New York Times
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In its modest way, Outsourced may be unique: a charming culture-clash romance that could be taught in business schools.- The New York Times
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Rachel Saltz
A fascinating blend of musical, melodrama and feminist fairy tale, Laaga Chunari Mein Daag shows Bollywood’s moral universe in transition.- The New York Times
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- The New York Times
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Built around “Save It for the Stage,” a one-man stage show by Charles Nelson Reilly, a showbiz gadfly and Tony Award-winning theater director.- The New York Times
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What makes Ms. Ohayon’s movie special is its recognition that epic horrors don’t erase private dramas.- The New York Times
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Reviewed by
Stephen Holden
Just below the movie’s attitude of pep-rally cheer is a mood that approaches despair. Mr. Gelbspan has probably amassed as much hard evidence of climate change as anyone alive.- The New York Times
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Reviewed by
Jeannette Catsoulis
Part tribute, part musical mystery, ’Tis Autumn: The Search for Jackie Paris shines an overdue spotlight on a great who got away.- The New York Times
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Reviewed by
Stephen Holden
Jessica Yu’s enthralling documentary exploration of people with obsessive needs for control and self-mastery.- The New York Times
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Manohla Dargis
Wry and tender and delicately melancholic, Woman on the Beach shows a newly confident filmmaker again working near the top of his form after the disappointing “Tale of Cinema” (2005), even if the new film unfolds straightforwardly, with none of the narrative ellipses and puzzle-box complications, the flashbacks and parallel story lines of his earlier work.- The New York Times
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Reviewed by
Jeannette Catsoulis
A devilishly entertaining curveball thrown at unsuspecting family audiences.- The New York Times
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Reviewed by
A.O. Scott
In spite of its raw, explicit moments, the film is at heart a sturdy morality tale about innocence and corruption, wealth and want, sex and power.- The New York Times
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Reviewed by
Manohla Dargis
The film demands engagement and a kind of surrender, a willingness to enter into a work shaped by correlation, metaphor and metonymy, by beautiful images and fragments of ideas, a work that locates the music in the twitching of a dog’s ears, in the curve of a woman’s belly, a child’s song and an adult’s reverie.- The New York Times
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Jeannette Catsoulis
A jubilant documentary about a place where power chords and empowerment go hand in hand.- The New York Times
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The movie lets parallels between that time and the post-9/11 era emerge organically, in the manner of a fable that subtly illuminates your own life.- The New York Times
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Jeannette Catsoulis
Crammed with colorful interviews, digital animation and live performances, this frisky and forthright film by Dean Budnick chronicles a vision of financing social progress with really great tunes.- The New York Times
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Reviewed by
A.O. Scott
The girl-boy-girl threesome, which turns out to be short-lived, is perhaps the most straightforward emotional configuration in this odd, witty, touching film.- The New York Times
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From moment to moment, Planet B-Boy is fun, sometimes thrilling and packed with illuminating details and striking personalities.- The New York Times
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Reviewed by
Jeannette Catsoulis
Ten years in the making, Hats Off is a documentary tribute to the 93-year-old actress Mimi Weddell, one of those people for whom the word “individual” seems especially apt.- The New York Times
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Stephen Holden
Mr. Wang and his screenwriting collaborator, Lu Wei (“Farewell My Concubine”), portray a world that, apart from its hardship, is thoroughly recognizable in its human complexity. Its characters are motivated by the same needs for companionship and material well-being and the same demons — greed, lust, jealousy and despair -- that drive everybody.- The New York Times
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A.O. Scott
The great virtue of Smart People, attributable to Noam Murro’s easygoing direction as well as to Mr. Poirier’s wandering screenplay, lies in its general preference for small insights over grand revelations.- The New York Times
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Reviewed by
Jeannette Catsoulis
The film, fluidly shot by James Adolphus, remains deeply sensitive to the complexities of a culture whose attachment to monarchy contravenes its best interests. This dilemma is gradually becoming clear to Princess Sikhanyiso, the oldest of the king's 22 children and a student in California. Intelligent, articulate, caring and strong-willed, she could be her country's best hope.- The New York Times
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Rachel Saltz
Vijay Krishna Acharya, an accomplished screenwriter making his directing debut, seems eager to show that he can deliver a movie in the high style -- bright, pop and technically sophisticated -- to which Bollywood has become accustomed.- The New York Times
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Reviewed by
Jeannette Catsoulis
Adam Hootnick’s Unsettled makes the political personal, drawing a scattershot yet intimate picture of a nation divided.- The New York Times
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Jeannette Catsoulis
A movie of stark contrasts and zigzagging motives, Beauty in Trouble moves from the golden serenity of a Tuscan villa to the powdery chaos of a Czech garage without sacrificing thematic confidence or nuanced performances.- The New York Times
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Reviewed by
Manohla Dargis
It's possible that two actors other than Samantha Morton and Jason Patric might do justice to Cecilia Miniucchi's story about two badly matched Santa Monica, Calif., parking enforcement officers who stumble and grope into a relationship. But it's hard to think of a better match for the stubborn idiosyncrasies of Ms. Miniucchi's visual style and worldview than these two.- The New York Times
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