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Good Critique/Bad Critique - Brad Pitt movies
Can you name the Brad Pitt movies which fit the good and bad critiques given for each?
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Gilliam keeps the audience guessing, and creates an effective rumination on the nature of sanity and madness cloaked in the shroud of a sci-fi thriller. [Austin Chronicle]
But finally the film is no more than a flamboyant curiosity. Also with Brad Pitt, in a showy role as a voluble lunatic; he's dreadful. [The New Yorker]
Aptly for a film so concerned with time, it is 13 minutes shy of three hours and just flies by. If this is Fincher selling out, can he sell out more often please? [Empire]
It's a stunning technical accomplishment, but one seemingly designed only to broadcast banal sentiments, when it says anything at all. [The A.V. Club]
Ritchie's got something all his own: a go-for-broke energy that cuts through the cliches of the crime genre. [Rolling Stone]
When you're dealing with explosions of real violence and viciousness, the hyperslick technique can't accommodate the real pain that comes with the territory, or ought to. [New York Magazine]
This weirdly off-kilter suspenser goes well beyond the usual police procedural or killer-on-a-rampage yarn due to a fine script and striking craftsmanship. [Variety]
Not even bags of body parts, a bitten-off tongue or a man forced to cut off a pound of his own flesh keep it from being dull. [New York Times]
A full-on action flick, subversive rom-com and weapons-grade star vehicle that's drenched in Tinseltown glitz, from a director who knows how to put the money on the screen.[Empire]
It may be emblematic of new-millennium Hollywood that this movie has turned out to be one more emotionless, brainless, overproduced action film. [Seattle Post-Intelligencer]
Pulls you in, challenges your prejudices, rocks your world and leaves you laughing in the face of an abyss. It's an uncompromising American classic. [Rolling Stone]
What's troubling about this witless mishmash of whiny, infantile philosophizing and bone-crunching violence is the realization that it actually thinks it's saying something. [LA Times]
In a league with Hollywood's top historical epics, ancient or otherwise. It's stunningly handsome film, with an equally stunning cast and engrossing story. [Chicago Tribune]
In (movie), and in overreaching, underachieving productions like it, digital imagery is fast becoming both a Trojan horse and Achilles' heel. [Wall Street Journal]
With its exploded notions of heroism, torture-rack dramatics and kamikaze gusto, it's a fiendishly entertaining flick. [St. Louis Post-Dispatch]
The only hope for (movie) is that audiences will embrace it the way the Broadway crowd did 'Springtime for Hitler': because it's so bad they think it's good. [Baltimore Sun]
It's a scrumptious and dizzy-spirited lark, a what-the-hell-let's-rob-the-casino flick made with wit and brains and dazzle and virtuosity. [Entertainment Weekly]
Too bad it commits the crime of being so intensely average, because what could have been sensational turns out to be merely this week's heist movie. [New Times]
May be the most ambitious movie of the year, tackling towering communication barriers, global politics and cultural divides in a complex and fascinating narrative. [USA Today]
It's pretty -- oh, what's the word? -- stupid in its dramatization of the silly little connections that unite us, and it's somewhat selective in its choice of them. [Washington Post]
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