But even then, this weepie is tough to resist entirely.
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Whether the film cuts it as a fully functioning weepie is another matter.
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NEW YORK, (Reuters) - What's a better bet than a Hollywood weepie based on a best-selling book?
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And, as no other candidate could, Mr Rubio recounts all this as insinuatingly as a Hollywood weepie.
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What was once a sexy heist movie is now a grim prison drama and disease-of-the-week weepie.
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A weepie, a thriller, a tragedy, a sub-Spielbergian pastiche, "The Book of Henry" is mostly a tedious mess.
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And this frigid mound of sumptuousness is the sort of thing that gets you that next Eddie Redmayne weepie.
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As for Five Feet Apart, it's been nearly five years since the similarly themed weepie The Fault in Our Stars, and I'm already crying.
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The NBC weepie had an impressive 14 percent growth in viewers in its second season, when it finally answered what exactly happened to Jack.
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He pulled off the trick of remaining aloof from popular culture even as he lent some grit to the popular weepie "The Notebook" (2004).
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Instead, "Thank You for Your Service" is a macho weepie, whose message — that wars are permanent for those who fight in them — has broad appeal.
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Milestone Asian-American weepie The Joy Luck Club, on the other hand, is a no-go, courtesy of having been executive produced by alleged harasser Oliver Stone.
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Just about every role Ms. Chlumsky takes on, from Vada in the 1991 weepie "My Girl" to Lydia, the tightly wound urban visionary in "Cardinal," is similarly intense.
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In 1981, Mr. Zeffirelli returned to the topic of doomed teenage passion — this time across class lines — with the melodramatic weepie "Endless Love," starring a 15-year-old Brooke Shields.
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In light of a résumé skewed toward male-dominated thrillers, the Scottish director Paul McGuigan might seem an unlikely choice to guide a fading-siren weepie from page to screen.
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In the various versions of "A Star Is Born," the husband assumes this victim role, a figure that Cooper — who also directed — exalts by turning a romantic melodrama into a male weepie.
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But as a portrait of an embattled woman pulled between the demands of love and success, "Funny Girl" still exudes the tear-stained hoariness of a black-and-white weepie from the 1930s.
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The writer-director Mike Mills's last movie, "Beginners," was a lightly comic, fictionalized weepie about his father, who came out of the closet in his mid-70s when his son was an adult.
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Oblivious to occupying the pop-culture equivalent of the bottom half of a double bill, "Maze Runner: The Death Cure" aspires to be a grand male weepie: the "Shawshank Redemption" of "Maze Runner" movies.
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Produced by Manhattan Theater Club and directed by Saheem Ali, "Sugar in Our Wounds," set in the antebellum South, is an old-fashioned weepie written in lush, poetic dialect, with up-to-date interests and politics.
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Like that film, which makes a male weepie out of the decline of an aging wrestler, sentimentalizing his bad parenting and failed marriage, JCVD allowed Van Damme to stage a comeback by reclaiming (and rewriting) his own past.
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In 1971, the British critic Raymond Durgnat observed that the "rationalist puritanism" of some critics meant that they often disliked female-driven soap operas and the emotional vulnerability they stir up, but didn't object to what he smartly called the male weepie.
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Its emphasis on a mother and daughter relationship, in particular, brings to mind maternal melodramas like the glorious weepie "Stella Dallas" (1937), about a woman who asks her wealthy estranged husband to finish raising their daughter so that the girl can live like the people in movies.
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When Stritch returned to New York from London, where she'd lived with her husband, John Bay, at the Savoy hotel, this Depression-era comic weepie was, along with "42nd Street," one of the sensible-seeming options on Broadway; the others might has well have been in a foreign language.
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With a set list incorporating P.M. Dawn's funky "Shake," Ruth Brown's bawdy "If I Can't Sell It, I'll Keep Sittin' on It" and the classic George Jones weepie "He Stopped Loving Her Today," Nancy and Beth's poker-faced, very funny vaudeville — the act is choreographed, too — bridges the plush cabarets of the traditional American Songbook and a downtown scene where recontextualized interpretations of hits old and new flourish.
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Laaga Chunari Mein Daag review. NDTV. Accessed 13 October 2007. Critical response in the United States to the film was more mixed. Frank Lovece of Film Journal International said that the film put "glossy Bollywood confection" in a historical context, calling it a "good old-fashioned, Douglas Sirk-style women's weepie ... so universal you could substitute Joan Crawford for Rani Mukherji and New York City for Mumbai".
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Miller was 5th-billed after Arthur Kennedy. At the end of 1948, Miller made a brief appearance in the "weepie" Paid in Full (1950). In the last film she would do for Paramount, Miller was to play Nancy Langley, the younger modeling sister of Jane (Lizabeth Scott), a department store illustrator, who allows her younger sister to marry Bill Prentice (Robert Cummings), despite Jane's love for him.
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The eighth song on the album, "Fortune Teller" has a pop tempo piano beat, that meshes with the song to provide a mix of emotions. The song gives a sort of "I want you, but I can't decide for you" feel. "Sad" is a piano ballad, which highlights Levine's soulful tone that his voice possesses. Nick Levine of NME labeled the song as "an Adele-apeing weepie".
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Nick Levine of NME labeled the song as "an Adele-apeing weepie". Similarly, The New York Times' Nate Chinen compared "Sad" to Adele's 2011 single "Someone Like You". Rick Florino of Artistdirect wrote that it "echoes Elton John in terms of epic scope and shows just how vulnerable Levine can get." Lyrically, "Sad" is a song on which Levine "achingly" declares the end of his relationship and his heartbreak.
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In the US, the film was issued on DVD via Lifetime Television as part of "The True Stories Collection" series. In recent years, Fisher Klingenstein Films issued the film on Amazon Video. In the UK, the film was released on VHS and DVD. It was issued in 1997 on VHS via Odyssey as part of "The Weepie Collection" series, whilst another Odyseey VHS edition was also issued in 2001.
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Enright described the book as "...the intellectual equivalent of a Hollywood weepie." The novel traces the narrator's inner journey, setting out to derive meaning from past and present events, and takes place in Ireland and England. Its title refers to the funeral of Liam Hegarty, an alcoholic who took his own life in the sea at Brighton. His mother and eight of the nine surviving Hegarty children gather in Dublin for his wake.
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Family Diary () is a 1962 Italian film directed by Valerio Zurlini and based on the novel by Vasco Pratolini. It tells the story of two brothers (played by Marcello Mastroianni and Jacques Perrin) who are brought up apart from each other at their mother's death, then brought together by difficult family circumstances. Described by Elliot Stein in The Village Voice as "the classiest 'male weepie' ever filmed",Stein, Elliot. "Valerio Zurlini’s Autumn Tales", The Village Voice, 22 August 2000.
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Shiraz was restored from original film elements by the BFI in 2017, and had its premiere as a gala screening at the 2017 London Film Festival, accompanied by a new score composed and performed by Anoushka Shankar. The Guardian's film critic Peter Bradshaw praised the film as " a startlingly ambitious epic weepie-romance". The restored version subsequently played in a number of venues in India in late 2017. The film was shown as part of the BFI London Film Festival's lineup at We Are One: A Global Film Festival in 2020.
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The film received mixed reviews, but earned a worldwide gross of more than US$11 million. Cruz at the 2012 Toronto International Film Festival In 2015, Cruz co-produced and starred in the Spanish drama film Ma Ma, directed by Julio Medem. In it, she plays Magda, a gutsy mother and unemployed teacher, who is diagnosed with breast cancer, a role which Cruz later cited as "one of the most complex, beautiful characters I've ever been offered, the most difficult." The melodrama was screened in the Special Presentations section of the 2015 Toronto International Film Festival, where it received generally negative reviews for its weepie story line.
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Jody Rosen from Rolling Stone awarded "Wide Awake" three and a half stars out of five. He praised the song's composition, provided by Dr. Luke, Max Martin, and Bonnie McKee, and also felt it was, musically, a more comfortable side for Perry than "Part of Me". Robert Copsey from Digital Spy commented that the song sees Perry in "reflective mode", and gave it four stars out of five. However, in an album review for Teenage Dream: The Complete Confection, Melissa Maerz from Entertainment Weekly was more critical of the song, deeming it a "weepie" and a "kind of bummer", along with "Part of Me".
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Retrieved 2011-02-21. The revival of Flare Path was well received by a number of critics. Paul Taylor of The Independent called it a "richly entertaining and beautifully judged revival of this theatrical rarity."Taylor, Paul, "Flare Path, Theatre Royal, Haymarket, London", The Independent, 14 March 2011. Retrieved 2011-03-14. According to Charles Spencer of The Telegraph, "Terence Rattigan’s Flare Path (1942), rarely ranked in the top drawer of his plays, emerges in Trevor Nunn’s superb production as a three-handkerchief weepie that somehow manages to be both profoundly moving and wonderfully funny."Spencer, Charles, "Flare Path, Theatre Royal, Haymarket, review", The Telegraph, 14 March 2011. Retrieved 2011-03-14.
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Sheri Melnick of Book Reviews complimented the novel for its "emotional depth", adding, "No doubt bookstores should sell this tearjerker with a box of tissues, as even the most unemotional of readers will be hard pressed not to cry." Karen Valby of Entertainment Weekly magazine gave the book a "C" and notes, "Sparks, no slouch when it comes to a sales hook, employs many of the same elements of Robert James Waller's weepie in his Outer Banks romance." Trisha Finster of Lakeland Mirror complimented Sparks, saying "Sparks has a unique way of going about writing romance in his novels." The novel was adapted into a film of the same name, released on September 26, 2008, in the United States.
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" Kevin Fiddler of the now defunct Henderson Home News praised the acting by briefly saying "Great performance from Jon Voight and Rick Schroeder."Kevin Fiddler HHN Feb 19, 2003 Time Out London was critical of the film, calling it "A pointless update of King Vidor's '30s weepie."Time Out London review Writing for The New York Times, Critic Vincent Canby intensely panned the film, stating that "the most offputting thing about such canny, tear-stained movies as 'The Champ' is not their naïveté but their unholy sophistication. These movies don't mean to deal with the world as it really is, but as it should be, a place where there's no pile-up of emotional garbage too big that it can't be washed clean by a good cry.
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It slights Nijinsky's melodramatic story and, finally, offends with its relentless reductionism. There are times when excesses of good taste become a kind of bad taste, a falsification of a subject's spirit and milieu. This is never more true than when the troubles of a genius are presented in boring and conventional terms." Time Out London calls it "the best gay weepie since Death in Venice … the first major studio film to centre on a male homosexual relationship (albeit a doomed one) without being moralistic … director Ross and writer Hugh Wheeler … do right by their male characters (Alan Bates, in particular, is a plausibly adult Diaghilev), their grasp of the historical reconstructions seems more than competent, and their dialogue and exposition are unusually adroit.
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" In the second half of the film's disaster scenes, she praised Abhishek Kapoor for being "a sensitive director" who "stayed true to the story," yet noted that the disaster scenes seem a bit "disturbing" and take up so much time that "a pall of gloom descends on the audience." Yet she ultimately called it a worthy watch for Sara Ali Khan. Shubra Gupta of The Indian Express gave the film 2 out of 5 stars, calling the film a "weepie without the tears." Like Rachit Gupta, she also noted the similarity of debutante Sara Ali Khan to her mother, showing a "perky confidence." Sushant Singh Rajput was on average form, and while supporting actors Nishant Dahiya, Pooja Gor, and Alka Amin made an impact, Nitish Bharadwaj "as the angry ‘door-ho-jaao-meri-nazaron-se- baap’ is old, old hat.
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