LETTER D

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Dangerous Lives of Altar Boys

Doors, The

Danny Boy

Do the Right Thing

Daredevil

Double Indemnity

Dead Man

Double Take

Deep Cover

Dragonfly

Deep End, The

Dreamcatcher

Delicatessen

Dressed To Kill

Diabolique

Drumline

Die Another Day

Duck Soup

Die Hard

Dude, Where's My Car?

Die Hard 2

Movie Title

Die Hard With A Vengeance

Movie Title

Dogtown and Z-Boys

Movie Title

Dolores Claiborne

Movie Title

Don't Look Now

Movie Title

Movie Title

Movie Title

Movie Title

Movie Title

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

The Dangerous Lives of Altar Boys  (2002)      

7 /10

Moving drama with bits of humor set in Virgin Suicides-esk depiction of 1970's. Young cast puts forth strong performances with yet another Culkin showing talent. Animated sequences aren't as effective as they could be and Jena Malone, while good, is starting to typecast herself.  [English, 141min, PG-13]

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Danny Boy  (2002)      

7 /10

17 year old Colin Bannon again demonstrates technical skill far beyond his years, surpassing limitations of digital video with impressive "film-like" shooting and editing. Ambitiously mature narrative (about cryptic childhood nightmares) loses focus from time to time, short changing it's intriguing ideas, though climactic revelation still packs emotional punch. Bannon will truly excel when his writing is on par with level of craftsmanship.  [English, 23min, NR]

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Daredevil  (2003)      

3.5 /10

Darkest comic book adaptation since Batman suffers from a monumental casting disaster (Farrell as Bullseye is "you’ve got to be f-ing kidding me" ridiculous), a "wannabe-Spiderman" origination story, and dialogue bad enough to rival Episode II. Gets points for a blind, pill popping superhero and wisecrackin’ Jon Favreau, but grounded approach is futile when characters randomly defy physics. Works best during an early bar room fight.  [English, 103min, PG-13]

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Dead Man  (1995)      

7 /10

Sets up premise with strange energy, then shapes into a slow, somewhat aimless tale accented by graphic violence. Depp and cameos only can do so much. Always interesting (with a moody sparse guitar score by Neil Young), just not enough payoff.  [English, 121min, R]

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Deep Cover  (1992)      

7 /10

Dark morality tale with Fishburne strong as undercover cop who crosses over to the criminal world. Jeff Goldblum is atr his quirky best as a sleazy lawyer who utters one of the silliest lines in recent film history (with a straight face): "I want my cake and eat it too. I want my cake and eat it too." Now that makes it worth a watch alone.  [English, 113min, R]

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The Deep End  (2001)      

8 /10

Extremely well shot film noir-ish story of a mother willing to do almost anything to hide a murder that involved her son...who also happens to be a closet gay. Plot twists around conventions often and Tilda Swinton is impressive, but never emotionally engages.  [English, 101min, R]

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Delicatessen  (1991)      

8.5 /10

Years before the stunning Amélie, Jenut made his feature length debut with this remarkably original, surreal dark comedy. Dominique Pinon leads wholly eccentric cast as quirky’n’charming ex-circus star taking refuge in an apartment of situational cannibals during post-apocalyptic future (!). Whether it’s elaborately staged suicide attempts, a bed-squeak induced music number, or the intricately woven mayhem of finale, every scene thrives on pure imagination.   [French, 99min, R]

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Diabolique  (1955)      

8 /10

Slow burning thriller has passive wife seeking revenge against abusive husband with help from his no nonsense mistress. Strong suspense in first half as both women plan and commit murder, only to have the body vanish. Rest of film is an increasingly tense journey, as the wife, played to great paranoid effect by Véra Clouzot, tries to uncover the truth. Last revelation is a shocker, especially considering it’s time, and imitated countless times since.  [French, 114min, NR]

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Die Another Day  (2002)      

7.5 /10

20th in Bond franchise is most entertaining since GoldenEye, adding an edgier, more serious tone to the mix. Exciting, high powered opening refreshingly ends on a bad note for 007, in the process creating a uniquely scarred villain. Plot has Brosnan on renegade revenge mission which leads to a number of solid action sequences, notably an inspired sword duel at halfway mark. Halle Berry's presence however, is unremarkable, along with her highly publicized sex scene.  [English, 133min, PG-13]

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Die Hard  (1988)      

8 /10

A on the verge of stardom Bruce Willis tears through one liners AND terrorists in this explosive (pun intended) pre-CGI invested 80's action movie that almost single-handedly defined the genre for a decade (along with it's sequels). Alan Rickman chews scenery as German hostage-taker mastermind and all around bad man. A pre-Family Matters Reginald VelJohnson has entertaining rapport with Willis throughout movie.  [English, 131min, R]

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Die Hard 2  (1990)      

8 /10

Exciting, over-the-top sequel to the groundbreaking action original features plenty of cool action pieces and fun self aware humor, although the underdeveloped villain, blandly played by William Sadler's, leaves more to be desired. Contains a rather horrific tragedy half way in that is especially disturbing in post-911 world, and for same reason would be taboo today. [English, 124min, R]

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Die Hard With A Vengeance  (1995)

7 /10

Often incredible action sequences in NYC strung together by paper thin plot. Not as much memorable dialogue as past outings, but Willis and Jackson make a strong team on this energetic thrill ride nicely capping off one of film's best action franchises. Jeremy Irons is a huge improvement in the villain department, playing the brother of first movie's terrorist.  [English, 131min, R]

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Dogtown and Z-Boys  (2001)   

7 /10

Hyper-energetic documentary on birth of present day skateboarding is entertaining and informative but at times too self congratulatory. Leaves giant gap after 70's, only briefly summarizing what followed. Narrated by unlikely choice of Sean Penn, that may be first actor who's cough remained in a voice over.  [English, 91min, PG-13]

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Dolores Claiborne  (1995)      

7.5 /10

One of Stephen King's best movie adaptations along side The Shawshank Redemption, The Green Mile, and Stand By Me, although it severely alters the book's narrative structure to lesser effect. Jarring use of stylistic flashbacks tightly weave past and present of story and eclipse sequence is interestingly presented, but loses steam in final scenes.  [English, 132min, R]

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Don't Look Now  (1973)      

8 /10

Director Nicolas Roeg's creepy hypnotic thriller is reminiscent of The Wicker Man in its slow burning dread and sinister, cryptic plot. Opens with tragic drowning of couple's daughter, phenomenally edited through intercut matched action, a  technique used to brilliant effect during the film's much lauded love scene. Donald Sutherland, as unraveling father, carries story though lapses in logic, leading to a shocking conclusion (albeit slightly unsatisfying). Water logged labyrinth of Venice is utilized well.  [English, 110min, R]

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The Doors  (1991)      

7 /10

First half is absolutely mesmerizing, feeling like an extended 60's drug trip, with good scenes of band's formation. Then movie is consumed by 'rise & fall' syndrome of Morrison's life, not unlike any other self-destructing drug binge. Val Kilmer gives stunning performance, merging his own voice with original music during power concert sequences (Academy was blind not to nominate him).  [English, 140min, R]

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Do the Right Thing  (1989)      

7.5 /10

First three quarters do exceptional job of establishing hot summer city day with views from all nationalities on racism. Story then turns serious, implausible, and finally unclear in it's overall message as it attempts to make broader statement on racial perspectives (a common problem with Spike Lee).  [English, 120min, R]

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Double Indemnity  (1944)      

9 /10

Hugely influential and entertaining film noir with such modern minded dialogue it rarely feels dated (aside from 1940’s technology). Fred MacMurray plays ultimate everyday guy, seduced by a femme fatal into committing murder for insurance money. Scenes grow increasingly tense as near perfect crime unravels and true character motivations surface, leading to a powerful, dark climax. Effectively updated as 1981’s steamy Body Heat.  [English, 107min, NR]

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Double Take  (2001)      

3 /10

Double misfire. Orlando Jones is better than this pathetic attempt at a comedy, or movie for that matter, in which he plays a Wall Street player who must trade identities with a street hustler (Griffin, in overly-obnoxious mode) after being framed for assassinating a Mexican governor  and blah, blah, blah...don't waste your time.  [English, 88min, PG-13]

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Dragonfly  (2002)      

4 /10

Dud of a thriller for Kevin Costner who holds title for "most consistent bad actor" in Hollywood. Blatantly obvious "clues" to unlocking plot insult intelligence; forced dialogue and jumpy pacing don't help matters. A Dancing With Wolves sequel must be looking pretty good about now.  [English, 104min, PG-13]

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Dreamcatcher  (2003)      

1.5 /10

Astronomically disastrous book adaptation tosses watered down versions of Stand By Me and Alien into a blender, switch set on "obliterate." Focus of King's novel on unique bond among life long friends is traded for rehashed sci-fi gore. Ironically, onset of incoherence begins after the film’s most memorable characters are killed off (including a perfectly cast Jason Lee). Only a handful of minor scenes make worthy translation to big screen.  [English, 134min, R]

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Dressed To Kill  (1980)      

6.5 /10

De Palma begins this as a sexy, intriguing thriller revolving around a sex-starved housewife (Angie Dickinson plus body double) and a transsexual serial killer, while blatantly ripping off Hitchcock in the process. Plot gets progressively more outlandish, not knowing when to call it quits. If judged solely on camera-work, however, this would get a near perfect score.  [English, 104, R]

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Drumline  (2002)      

5 /10

Unique concept of competitive African American marching bands fails to disguise highly formulaic "feel-good" plot relying on Rocky-style clichés and predictably resolvable conflicts. Closing college band face-off  features an amazing display of musicianship, though failure to established rules cheapens outcome. Orlando Jones surprises with successful dramatic turn, overshadowing Nick Cannon's arrogant prodigal drummer.  [English, 118min, PG-13]

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Duck Soup  (1933)      

5 /10

First exposure to Marx Bros. is this disappointing war parody. Brand of humor is grating, especially Harpo who is as aggravating as a 4 year old with A.D.D. Groucho Marx shoots out disconnected one liners like there's no tomorrow, sometimes hitting, many times just annoying. Best aspects are over-the-top music numbers (as in Mel Brook's early work) and classic, much imitated mirror sequence. Dr. Strangelove commented on similar subject with much more laughs.  [English, 68min, NR]

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Dude, Where's My Car?  (2000)      

2 /10

Dude, where was my mind when I watched this movie? A plot so disconnected that half way in I noticed my disc skipped about three chapters worth of scenes ONLY because the movie was ending 20 minutes too early. I'd be hard pressed to find another movie I'd make the same error with. A group of stoned high schoolers could probably concoct a more clever script. Bottom line: if THIS can be made in Hollywood, ANYTHING can.  [English, 83min, PG-13]

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