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Panic Room

Private Parts

Paths Of Glory

Pumpkin

Phone Booth

Punch-Drunk Love

Pianist, The

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Piano Teacher, The

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Play Misty For Me

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Pollock

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Porky's

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Possession

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Pretty Models All In A Row

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Princess and the Warrior, The

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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

Panic Room  (2002)      

8 /10

David Fincher takes a simple premise and builds a stylish cat n' mouse thriller. Awesome opening credits, clever camerawork, and intense, exciting scenes throughout. Acting is solid with Whitaker putting forth his best in a while, and a nice thuggish turn by a dread-haired Jared Leto. Next movie, however, needs to get back to Fight Club complexity.  [English, 112min, R]

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Paths of Glory  (1957)      

9 /10

All around excellent WWI drama, far ahead of it's time thanks in no small park to the stellar directing of Stanley Kubrick. Kirk Douglas is excellent as Colonel who must lead troops on "suicide mission" that becomes central conflict of taught courtroom drama. Battle sequences are spectacularly staged and a brutal precursor to the genre benchmark set pieces of Saving Private Ryan. Ends on a somber note that poses war-related questions still very relevant and potent today.  [English, 87min, NR]

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Phone Booth  (2003)      

7 /10

Most simplistic Hollywood premise since Panic Room is moderately tense little thriller carried almost entirely by Colin Farrellís full spectrum of emotion (best since Tigerland). Stylistic choices like picture in picture editing and ever changing camera angles keep limited locale interesting. Sutherland fleshes out "voice only" character into witty villain for solid catínímouse interplay. Conventional ending is minor letdown considering cruel twist possibilities.  [English, 81min, R]

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The Pianist  (2002)      

8.5 /10

Proves itself a worthy post-Schindlerís List contribution, telling an exceptionally intimate story of one manís survival, minus manipulative emotion or self-important presentation. Andrien Brody is potently understated as gifted Jewish musician hiding outside walls of Warsaw ghetto, with much of latter half literally seen though his eyes via POV camera angles. Eloquent in it's use of restraint and haunting in it's depiction of war torn landscapes.  [Various, 150min, R]

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The Piano Teacher  (2001)            

7 /10

The epitome of a foreign art-house flick; riveting, painful performance from Huppert as musician coping with sadomasochistic urges who suffers a complete psychological and physical breakdown. Highly realistic shooting style makes movie immensely uncomfortable to watch.  [French, 130min, R]

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Play Misty For Me  (19701)            

6 /10

Schlocky precursor to Fatal Attraction has Clint Eastwood as stalked radio DJ following affair with INSANE station listening. Some mildly disturbing scenes, but violence is so campy, character logic so perplexing, and Walter's performance so wacky that it's hard to take seriously.   [English, 102min, R]

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Pollock  (2000)            

7 /10

Ed Harris is commanding as titular artist, and in-film painting is truly captivating, but strong production value and acting are strained by dreary downward spiral story of socially destructive creative mind.  [English, 122min, R]

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Porky's  (1981)            

6 /10

Did for teen comedy what Star Wars did for sci-fi, writing the book on "horny boys who will do anything for sex" plot. Present day hits like American Pie would blush at abundant nudity, though jokes have same raunchy backbone. While often brain numbingly juvenile and a poor representation of 1950's life, some scenes, like girl shower spying, Kim Cattrallís "howling", and Ms. Balbricker's proposed inspection, are 80's comic classics.  [English, 94min, R]

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Possession  (2002)            

7 /10

LaBute takes a large sidestep with this tale of parallel relationships. Eckhart and Paltrow accurately represent present day couple plagued with intimacy issues, not much worse than the overly melodramatic 19th century lovers they uncover. Some very clever seamless transitions between both eras and a nice climactic surprise.  [English, 102min, R]

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Pretty Models All  in a Row  (1969)            

1.5 /10

Ed Wood's last starring role is in this late 60's piece of trash centered around an intercourse-free orgy that manages to last nearly an hour. Like going to a strip club where the girls don't take off their tops: pointless.  [English, 63min, R]

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The Princess and the Warrior  (2000)            

8.5 /10

Excellent follow-up to Run Lola Run; enchanting story of intersecting lives ambitiously takes on multiple genres with striking imagery and great music score. Captivating from start to finish, even if a little long.  [German, 135min, R]

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Private Parts  (1997)            

7 /10

Recount of shock jock Howard Stern's rise to success is light and entertaining, a contrast to his often explicit radio show. Stern does a decent job (he is playing himself after all) especially during gawky college phase of his life, where many funny moments ensue. Slows down slightly in last half, although manic scenes with Paul Giamatti help. Accomplishes more than most biopics by actually giving insight into mind of featured performer.  [English, 109min, R]

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Pumpkin  (2002)            

6 /10

College satire awkwardly teeters between extremely dry black humor and sensitive drama. Christina Ricci and Hank Harris are in fine form as the doomed couple defying all social standards, but a more "over-the-top" approach to the pessimistic events that transpire would make laughing a lot easier.  [English, 113min, R]

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Punch-Drunk Love  (2002)            

8.5 /10

P.T. Anderson makes his most simple movie yet with this surreal and at times downright strange take on "boy meets girl." Any doubters of Adam Sandler's acting range should be silenced as he creates a sympathetic issue-ridden protagonist; low on self-esteem but big on heart. Although at times slightly pretentious in it's direction, P.T.'s creative risks yield a number of memorable results (hotel kiss is one of them). Noteworthy use of sound, music, and color throughout.  [English, 95min, R]

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