| Critic |
Review |
Quote |
Analysis |
This Week's Verdict |
Stephanie Zacharek,
Salon.com |
Angel-A |
"She's the Eiffel Tower; he's the Pyramide du Louvre.
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"She's the Tower of Pisa/ She's the smile on the Mona Lisa/ He's a worthless check, a total wreck, a flop/ But baby, if he's the bottom, she's the top." Something about this review puts one in a jazz-hands and Cole Porter mood, no?
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Manohla Dargis,
The New York Times |
Paprika |
". . . Bears little relation to the greasy, sticky kid stuff that Hollywood churns out, those fatuous fables with wisecracking woodland creatures selling lessons in how to be a good child so you can grow up to be a good citizen." |
Nothing makes a person want to fight the power like the insidious messages embedded in Hollywood cartoons.
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Nathan Lee,
The Village Voice |
Pirates of the Caribbean: At World's End |
"Of all movies, this is the last you'd expect to talk and talk and talk and talk, but on it goes, everybody yapping about what they just did, what they're about to do, what they should be doing, what it will mean if they do X instead of Y. Dude, just fucking do it." |
Nike could not have said it better.
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Armond White,
New York Press |
Paprika |
"Paprika's vibrant visual style might seem novel, but its content is far less daring than Luc Besson's traditionally photographed, live-action movie Angel-A. (Both films open this week. Whichever proves most popular will indicate if our film culture is ready to grow up.)" |
New York Press — now saving you time and paper with two-for-one movie reviews.
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Dana Stevens,
Slate.com |
Pirates of the Caribbean: At World's End |
"With Pirates of the Caribbean: At World's End, the summer blockbuster begins to approach the level of pure abstraction. Adrift in the windless seas of its 168-minute running time, the viewer passes through confusion and boredom into a state of Buddhist passivity." |
"Pure abstraction," "Buddhist passivity" Ñ Dana Stevens actually makes it sound as if Pirates of the Caribbean is heading somewhere interesting here. Could this be the future of American movies? |
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