LETTER A

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About A Boy

Annie Hall

About Schmidt

Apocalypse Now Redux

Abre Los Ojos

Army of Darkness

Adaptation

Arthur

After Hours

At Close Range

Ali

Auto Focus

All the President's Men

AP3: Goldmember

All the Real Girls

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All the Right Moves

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Amélie

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Amores Perros

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Anger Management

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#  A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  UV  W  XYZ

About a Boy  (2002)      

7 /10

Hugh Grant is at his most likable with strong chemistry between him and Hoult. Consistently funny although film lulls in more dramatic middle section followed by a fairly generic ending. Cinematography is exceptional for genre.  [English, 101min, PG-13]

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About Schmidt  (2002)      

6 /10

Family dysfunction is explored through eyes of utterly insignificant titular character in this mildly effective black dramedy. Highly over-praised performance from Jack Nicholson consists almost entirely of reaction shots with emotional revelations occurring only in voice over (until very end). Humor is sprinkled throughout (Bates and Mulroney are fun as colorful in-laws), but story remains a mostly dreary outlook on undesirable lives.  [English, 125min, R]

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Abre Los Ojos  (1997)      

8 /10

Source material for Cruise's Vanilla Sky is virtually identical, with all plot twists just as effective although Penelope Cruz has more fleshed out character. Plot-critical face makeup FX is less successful  than in American remake.  [Spanish, 117min, R]

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Adaptation  (2002)      

9 /10

Nearly indescribable chronicling of screenwriter Charlie Kaufman’s pseudo-real life struggle with writers block, boasting a superior dual role performance by Nicolas Cage and an equally immersed Chris Cooper. Jonze adds trademark flair to sprawling flashbacks, overlaps in reality, stories-within-stories, and two vividly disturbing car accidents. A compelling, enormously unique experience, even if lacking promised "wow ‘em" ending.  [English, 114min, R]

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After Hours  (1985)      

8.5 /10

Criminally under-seen Martin Scorsese dark comedy has Griffin Dunne as a bored office worker who's late night date with a sexy young Rosanna Arquette leads to a Muphy's Law  escalation of strange events. Expertly shot with Hitchcockian flare that makes most of NYC locations, most notably  the eerie empty SoHo streets. John Herd, Teri Garr, and a very neurotic Catherine O'Hara make up colorful supporting cast. Clever Howard Shore synth score nicely accents increasingly bizarre circumstances. [English, 96min, R]  5/09

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Ali  (2001)      

6 /10

Overlong saga of famous boxer with no reference for time, far too little insight, and it's strongest boxing sequence stuck in the opening. Smith is good and film is very well shot, but scrap the fat (Denzel already did the Malcom X assassination) and focus on the Champ!  [English, 159min, R]

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All the President's Men  (1976)      

9 /10

Redford and Hoffman have excellent chemistry as famous Washington Post reporters in this riveting true story of Watergate scandal. Especially convincing portrayal of investigative journalism adds near documentary realism to scenes of fact finding and interrogation. Cinematography in news room maximizes angles, creating tense, fluorescent lit environment. "Hard facts" ending avoids melodrama yet feels slightly anticlimactic.  [English, 138min, PG]

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All the Real Girls  (2003)      

6 /10

Charming "first kiss" opening scene and grounded small town setting promise originality but plot fails to overcome confines of standard  "love story" mold. Sympathy is directed mostly towards Deschanel's character, who's naive, hurtful actions make her harder to like than Schneider's sensitive guy overcoming bad dating past. Emerging from unevenness are some potently real exchanges, confirming Zooey D.’s talent after fairing well in The Good Girl.  [English, 108min, R]

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All the Right Moves  (1983)      

5 /10

More wrong moves than right; old-school Tom Cruise with poorly shot high school football scenes and a lackluster "athlete looking to leave small town" story. Pales in comparison to Cruise's other '83 release, Risky Business.  [English, 91min, R]

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Amélie  (2001)      

9 /10

Audrey Tautou is utterly charming (and perfectly cast) in title role of  this immensely enjoyable ultra-cinematic experience that carries a rich visual identity courtesy of  true-auteur Jean-Pierre Jeunet. Opening sequence, creatively listing "likes & dislikes" of numerous characters, is disarmingly entertaining and sets tone for a movie that kept a smile on my face through every frame. A fantastic example of a director in complete artistic control of the medium.  [English, 122min, R]

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Amores Perros  (2000)      

8 /10

Three part movie centered around a spectacular car crash has excellent performances across the board, unfortunately ultra high energy of first story surrounding brutal underground dog fighting isn't matched in latter two. Incredibly assured directorial debut from Alejandro González Iñárritu.  [Spanish, 153min, R]

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Anger Management  (2003)      

3.5 /10

How do you botch a comedy with the likes of Jack Nicholson, Adam Sandler and the underused, talented, cute-as-a-button Marisa Tomei? Give ‘em an insipid script dripping in juvenile mediocrity that milks it’s potential filled premise strictly for superficiality, and then ends using one of the top 10 romantic clichés of all time. The brightest scenes are those featuring veteran actors Turturro and Guzmán, along with a few other inspired cameos (minus Giuliani’s).   [English, 106min, PG-13]

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Annie Hall  (1977)      

9 /10

Remarkable film; innovative direction, consistently funny sequences, insightful dialogue: Woody Allen before he became his current diluted self. Along with When Harry Met Sally... this is one of the best relationship movies ever made.  [English, 93min, PG]

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Apocalypse Now Redux  (2001)   

6 /10

Highly inferior reedit of Coppola's famous war film with ill advised footage additions that obliterate pacing (especially French plantation section). New scenes with Brando's Kurtz dilute the enigmatic persona that was one of the most unique aspects of the original. Too bad the dated synth-strings weren't replaced while they were at it.   [English, 202min, R]

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Army of Darkness  (1993)      

6 /10

Sam Raimi delivers a fun, over the top adventure/horror movie with splashes of campy humor from Campbell, though it lacks frantic energy present in first two Evil Dead films. One of the more inspired scenes is a skeleton homage to old-school Harryhausen stop-motion animation. Be sure to check out alternate endings on DVD.  [English, 81min, R]

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Arthur  (1981)      

5 /10

The real question is whether Dudley Moore was actually plastered during the making of this silly, uneven romantic comedy considering his titular character is sober for only about 5 minutes of screen time. Exploration of class divide and true love is pedestrian at best, with laughs often forced and Liza Minnelli a questionable leading lady (though refreshingly grounded). Moore's slur 'n' giggle act wears thin by end, as dose the plot, which progressively contrives itself to the brink of annoyance.  [English, 97min, PG]

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At Close Range  (1986)      

6 /10

"Rough" is an understatement, as this downbeat father-son relationship keeps viewer at an emotional distance; Walken is too eccentric for the role (I never thought I'd say that!) making an over the top antagonist to Penn.  [English, 111min, R]

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Auto Focus  (2002)      

8.5 /10

Newest entry in "downward spiral" genre; tells the story of 70's TV star Bob Crane's career ending obsession with sex. Suffers standard issues of off putting and depressing material, but elevated tremendously by Greg Kinnear's impressively convincing lead performance (deserving Oscar attention). Excellent recreation of time period, and quite fascinating when dealing with first generation video equipment. Dafoe adds another creepy role to his resume, playing Crane's pivotal best friend.  [English, 105min, R]

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AP3: Goldmember  (2002)      

5 /10

Amazingly uneven; paper thin plot runs on fumes from past two movies while recycling jokes (yet again), nearly abandoning supporting characters, and including ridiculously stupid scenes. However, opening sequence is lots of fun and good laughs are sprinkled throughout, but originality and spy movie parody is long gone.  [English, 94min, PG-13]

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