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50
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The New York Times
By turns clever, impassioned, incoherent and silly.
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42
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Entertainment Weekly
The movie butts up against the director's newfound pretensions -- pseudo-philosophical voice-over, psychobabble, faux-art-film plotting -- and turns incomprehensible.
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40
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Washington Post Desson Thomson
Its main purpose -- and no, you are not experiencing ocular breakdown -- is spiritual.
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38
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Philadelphia Inquirer Steven Rea
Guy Ritchie's Revolver premiered at the Toronto International Film Festival two years ago September. That's 26 months on a shelf somewhere, depriving moviegoers the thrill of jaw-droppingly awful Ray Liotta line readings, of bloody shoot-outs, bags of money, cutaways to frosty babes sucking on lollipops, and even a bit of violent anime.
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38
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New York Daily News Elizabeth Weitzman
A few scenes are stylish enough to amuse, but they all add up to nothing - leaving you ten bucks short and feeling like a sucker.
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30
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Los Angeles Times Kevin Crust
The result is a film that's main crime is inducing stupefying boredom with little payoff in the end.
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30
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The Hollywood Reporter Kirk Honeycutt
The film's pretentious style and fractured storytelling preclude any audience involvement in the coy melodrama.
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25
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San Francisco Chronicle Peter Hartlaub
The movie's onslaught of psychobabble is the annoyance most likely to ruin your evening. Imagine getting stuck on a ski lift with Dr. Phil for nearly two hours.
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25
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Boston Globe Wesley Morris
The latest Guy Ritchie shoot-em-up, is a joke. You laugh with it but mostly at it.
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12
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Chicago Sun-Times Roger Ebert
It is a "thriller" without thrills, constructed in a meaningless jumble of flashbacks and flash-forwards and subtitles and mottos and messages and scenes that are deconstructed, reconstructed and self-destructed. I wanted to signal the projectionist to put a gun to it.
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