If you've seen Michael Mann's The Insider (1999), you won't be surprised by much of this documentary about the civil action suit filed against the U.S. tobacco industry in the 1990s.
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Terry Gilliam's third fantasy feature (1989) may not achieve all it reaches for, but it goes beyond Time Bandits and Brazil in its play with space and time, and as a children's picture it offers a fresh and exciting alternative to the Disney stranglehold on the market.
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Whenever Steven Spielberg works in his self-conscious blockbuster mode—as in the Indiana Jones or Jurassic Park movies--his action sequences are staged with such precision that they feel like the work of a sophisticated computer program.
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Whenever Steven Spielberg works in his self-conscious blockbuster mode—as in the Indiana Jones or Jurassic Park movies--his action sequences are staged with such precision that they feel like the work of a sophisticated computer program.
more...
Whenever Steven Spielberg works in his self-conscious blockbuster mode—as in the Indiana Jones or Jurassic Park movies--his action sequences are staged with such precision that they feel like the work of a sophisticated computer program.
more...
Whenever Steven Spielberg works in his self-conscious blockbuster mode—as in the Indiana Jones or Jurassic Park movies--his action sequences are staged with such precision that they feel like the work of a sophisticated computer program.
more...
John Huston's odyssey theme reprised as comedy (1951), as Humphrey Bogart cavorts like a monkey and Katharine Hepburn exploits a latent strain of Eleanor Roosevelt.
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Martin Scorsese's ambitious and sumptuous 1993 film version of Edith Wharton's 1920 novel about New York society in the 1870s manages to be both personal and true to its source, though it never quite comes together.
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An old Paramount programmer, Hall Bartlett's Zero Hour (1957), remade in 1980 as a sketch comedy by writer-directors Jim Abrahams, David Zucker, and Jerry Zucker (Top Secret!, Ruthless People).
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Coming on the heels of Spellbound and Bee Season, this small gem (2006) about a South Central LA girl with a gift for spelling restores luster to the family genre.
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Something of a departure for Martin Scorsese, this 1974 drama is a stylistically flashy account of a widow and mother (Ellen Burstyn) pursuing a new life, which includes singing in southwestern saloons and Kris Kristofferson.
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Tim Burton has dropped the Mad Hatter's "clean cups" bit from this adaptation of Lewis Carroll, though he does find time for a leaden narrative frame in which Alice, reimagined here as a young woman, is pressured by her family to accept the marriage proposal of a chinless goon.
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Tim Burton has dropped the Mad Hatter's "clean cups" bit from this adaptation of Lewis Carroll, though he does find time for a leaden narrative frame in which Alice, reimagined here as a young woman, is pressured by her family to accept the marriage proposal of a chinless goon.
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Tim Burton has dropped the Mad Hatter's "clean cup" bit from this adaptation of Lewis Carroll, though he does find time for a leaden narrative frame in which Alice, reimagined here as a young woman, is pressured by her family to accept the marriage proposal of a chinless goon.
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Too slavish in its devotion to 50s sci-fi conventions to work as parody or camp, this indie comedy by The X-Files alumnus R.W. Goodwin sinks under the weight of its homage.
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